DVD DETAILS:
Vision
The 16:9 enhanced widescreen transfer is vivid and free from any major blemish. It begins with a long point of view shot from the Ripper’s perspective and makes fine use of candlelit interiors then contrasted to the electric lights and neon of modernity. Ironically, modernity is at first brighter and more open than the constricting London, but slowly this changes as night falls and the Ripper goes to work. The light show of the special effects sequence is effective within its budgetary limitations and the San Franciscan colours are full of authentic pop detail, a modern maze for a lost soul. However, the transfer reveals some background definition problems although bright sunlights are effective and there is a nice golden brown hue. The cinematography is careful to distinguish between interiors and exteriors, and the juxtaposition of locations (the Hyatt Regency and a hospital emergency room) even works as social satire. Socio-economic disparity prevails although the film captures Wells’ sense of both wonder and discovery as he moves through what is for him an almost alien world. Likewise, much is here made of costume, as Wells stays in the one out-of-date suit whereas the Ripper has outfitted himself with a modern wardrobe. Gore is kept minimal, excellent use made of a blood spurt to make the Ripper appear to cry a tear of blood. However, the red lettering of the end credits is bright and difficult to read.
Sound
The Dolby Digital 2.0 stereo sound transfer is a model of efficiency, preserving the original intention without much adornment for the home theatre age. From the outset, it develops a fine stereophonic sensation and maintains this for some tense moments. Most effective is an introductory scene wherein a prostitute has bared herself to the Ripper who then says that his friends call him Jack – the subsequent ripping sound clearly establishing his identity. Much is made out of the counterpoint between the Ripper’s music-watch and the actions it plays over, suggesting perhaps an emotional paradox at the killer’s heart. The score makes for some thunderous highs, particularly during the time travel scenes, which make for a nice, sly clock motif. Also interesting is a use of radio broadcasts to signal the journey through time (a trick used for the opening of Contact sometime later). The score is quite lavish and even romantic in a deliberately old-fashioned way and is contrasted effectively to modern disco music when the Ripper uses such a club to select a victim, without saying a word. Accents are also neatly contrasted as is the difference in speech patterns that has taken place between the centuries. Sounds of the city make for a fine, downplayed background. Stillness makes for more serene moments and the dialogue between McDowell and Steenburgen makes for a pleasing respite from the hardship surrounding them. read more
Wider Screenings DVD Safe Purchase
(in affiliation with Amazon.com)