DVD DETAILS:
Vision
The anamorphic widescreen transfer is only moderately effective, though nicely bright for much of its length. Indeed, the film makes much out of the deliberate moderation of shadow in its intent to remain a rousing, populist wartime vision. The film is detailed in its production design and true to its Indian locations, capturing the contrast between the bustling streets and the spacious retreats of the British colonial masters – seen here as perhaps the ultimate old boy’s club. The compositions have plot functionality but despite its competent craftsmanship, the film feels routine, staid and may seem sluggish. Although the source print is mostly clear, the transfer betrays several flaws – it is frequently and notably indistinct with the more overtly coloured backgrounds wherein it is cloudy and looks like video, and it has inconsistent flesh tones, seeming too orangey at times. As such issues are found on many NTSC transfers for the region 4 market, these are not fatal flaws as most of the film is here clearly and precisely rendered. The final mission is an effective set-piece, with a good use of fireworks; and the final credit sequence (designed by James Bond title artist Maurice Binder) is one genuine highlight. The film’s slow but assured sense of pace speaks to the involvement of editor John Glen, who would go on to direct and indeed redefine the James Bond franchise throughout the 1980s, helming it through Moore and into Timothy Dalton.
Sound
The Dolby Digital 2.0 stereo sound transfer is a model of lean efficiency, offering the kind of competency given releases of older films. The patriotic score by cult figure Roy Budd is another highlight of the film (and has been since released on a collector’s item CD as indeed have many of Budd’s soundtracks) perfectly in keeping with the needed tone of old-fashioned wartime heroism. The Indian streets are suitably teeming with varied noises and again nicely contrasted to the easy discipline of the Colonial rulers: calm and authority seem to underlie the quieter moments representing the presumed British colonial influence here. Voices are always effective and stand out enough from the background mix although reviewers of the time commented on Peck’s difficulty with an English accent. There are minor directional and travelling effects but when these are deployed they are well utilized for at least a moderate stereo sensation. The sounds of the train and boat sections are thus impressively functional but perhaps minor highlights. The actions sequences are similarly capable as so much of the sound mix in the film denotes the solid technical professionalism behind the concern for both authenticity and dramatic impact. The sound transfer thus captures the sense of knowing, highly polished craftsmanship that finally distinguishes The Sea Wolves slightly above any initial expectations of such a work. read more
Wider Screenings DVD Safe Purchase
(in affiliation with Amazon.com)