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Geek Vibes Nation
3 days ago
- Entertainment
- Geek Vibes Nation
'The Proud Rebel' Blu-Ray Review - Alan Ladd Reveals Vulnerable Side In Endearing Western
Wandering the North in search of medical advice for his mute son David, ex-Confederate soldier John Chandler (Alan Ladd) finds himself in Aberdeen, Illinois—the next stop in a long trail of towns where he desperately hopes to find a cure for his youngster who lost the power of speech when a traumatic fire took the life of his mother. While many townsfolk in Aberdeen still hold a grudge against Southerners, the same can't be said for kindly doctor Enos Davis (Cecil Kellaway) who recommends John head to Minnesota where a specialist may be able to treat David's condition. Before he can leave town, however, Chandler runs afoul of Jeb and Tom Burleigh—one-armed sheep rancher Harry Burleigh's roughneck sons—who pick a fight with John after attempting to steal David's beloved dog. Dragged before an indifferent judge, John is railroaded with an assault and battery charge and given the choice of 30 days or $30…neither of which he can afford. On hand for the trial is spinster Linnett Moore (de Havilland) who intervenes on John's behalf by offering to pay his fine while he works off the debt on her farm. Starring Alan Ladd in one of his most sober and moving performances, and a feistily endearing Olivia de Havilland, The Proud Rebel also boasts being helmed by one of the Golden Age's most prolific directors in Michael Curtiz (Casablanca), along with beautiful cinematography by Ted McCord (Sound of Music) and a rousing score by Jerome Moross (The Big Country). For thoughts on The Proud Rebel, please check out my thoughts on No Streaming Required: Video Quality ClassicFlix presents The Proud Rebel on Blu-Ray after being released previously just last year by Reel Vault, a release we do not own but can say with a fair amount of certainty was released with much less care than this new Blu-Ray. This time, the title gets the treatment it deserves as ClassicFlix collaborates with the Library of Congress to deliver a 1080p transfer sourced from a 4K scan of an IB Tech print in the original 1.85:1 aspect ratio. As noted in the opening restoration text, there are some shortcomings with this release such as missing frames and damage that could not be completely mitigated due to the condition of the elements. ClassicFlix almost never lets us down, and they have done everything possible to deliver for classic film fans. One of the first things you will notice is the thick sheen of lovely natural film grain throughout that delivers a great amount of detail in the image. There are elements of the costumes and environmental backgrounds that are likely being seen for the first time with such clarity. If you watch the featurette on the restoration comparison included on this disc, you will be blown away by the improvements that have been made. The missing frames result in some jumpy moments, but this restoration has made this one as stable as the source material will allow. The Technicolor footage is boldly saturated and more vibrant than ever. The hues radiate off the screen compared to the faded appearance when you look at the restoration demonstration. The presentation has a surprising amount of depth to it including in the shadows where there is no major evidence of black crush. Print damage has been kept to a very minute level outside of the smallest bits. There are a few fleeting moments where clarity falters somewhat, but this is likely tied to the condition of the original elements. ClassicFlix has done an admirable job of bringing this film to Blu-Ray. Audio Quality This Blu-Ray release comes with a DTS-HD 2.0 Master Audio mono track that largely sounds very strong. The dialogue typically comes through clearly with none of the sound effects or the score ever overshadowing exchanges on this release. The presentation maintains the utmost fidelity outside of some minor hollowness and brittleness during the most climactic moments. The more thrilling sequences including stampedes and roaring fires are appropriately lively in the speakers. There does not appear to be any exceptional damage or age-related wear to the track. Overall, this is a favorable audio presentation that gives the material the life it needs. Optional English SDH subtitles are provided here. Special Features Audio Commentary: Alan K. Rode, author of Michael Curtiz – A Life in Film , provides a deeply informative commentary track that delves into the background of this production, the history of the creatives involved with the film, filming locations and setup, background details that could easily be overlooked, and more. Alan K. Rode Interviews David Ladd: A new nearly 25-minute interview with the now grown-up star of The Proud Rebel who discusses his early life as the son of Alan Ladd, working with his father, memories of the production, his relationship with the dog, and more. Isolated Music Track: An option to watch the film with only the score audio in Dolby Digital 2.0 audio. Restoration Comparison (4:15) Original Theatrical Trailer (2:57) Final Thoughts The Proud Rebel is a great western outing from Alan Ladd, who plays a father who is trying to walk a noble path for his son while outside forces attempt to make that journey as difficult as possible. There are some heavy-handed moments at times, yet the performers bring a warmth and relatability to their characters that makes the material work. Olivia de Havilland especially charms us with a personal journey of her own that is rewarding. Michael Curtiz was always very dependable as a filmmaker, and this is another great example of his rewarding output. ClassicFlix has delivered a Blu-Ray release with a fine A/V presentation and a few special features that make the package even sweeter. If you are a fan of the talent, you owe it to yourself to pick this one up. Recommended The Proud Rebel is currently available to purchase on Blu-Ray. Note: Images presented in this review are not reflective of the image quality of the Blu-Ray. Disclaimer: ClassicFlix has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Irish Times
27-04-2025
- Entertainment
- Irish Times
No, I didn't watch Sinners all the way through before giving it five stars
First, a mea culpa. It has always been my view that nobody should review a film without experiencing the entire work. Obviously, if you have to go to the loo then to the loo you must go. If transport catastrophes shave off a tiny section then we will let it pass. But, such inconveniences of the human condition noted, the critic needs to endure every last minute before awarding one star. Or five? Nothing has been more stirring in the young cinematic year than the critical and commercial success of Ryan Coogler 's Sinners . It is a whole bunch of terrific films. There is something here about the history of black music. There is a surprising amount about the complex relations between Irish immigrants and African-Americans. And there are many hungry vampires. I had no reservations in awarding it the full constellation of stars. Days later I learned I had left before significant scenes played themselves out. It would be wrong to say I exited before the end. The bloodletting looked to have finished. A musical sequence began. The credits came up on the screen. And, like most of the equally enthusiastic audience at the press screening, I made my way into the daylight. [ Sinners review: The best film of 2025 so far, right down to the Celtic vampires singing Rocky Road to Dublin Opens in new window ] If you have seen a franchise movie (which Sinners is not yet) over the past 20 years, then you will be well ahead of me. It seems there was a 'post-credits sequence' that supplied vital supplementary information. I haven't yet got to see Sinners again – I will do so before it leaves the big screen – but I have, against all principles, read a synopsis. As reports have suggested, the sequence does add plot points that matter. 'Sinners' post-credits scene isn't just worth waiting for – it's essential,' GQ blares . The scene is, according to Vanity Fair , 'much more substantial than most quick tags added to films these days'. And so forth. READ MORE What the hell is going on? Michael Curtiz didn't run Rick's farewell to Ilsa as a coda to Casablanca. John Carpenter didn't wait for the credits of Halloween to reveal Michael Myers had raised himself from apparently fatal recline. Why would he? Yet cinemagoers now seem primed to expect something in the playout of a commercial movie. A sound analogy could be made with an encore at a gig. Everyone half-pretends that the band has left the stadium for good. Everyone knows that if you make a bit of noise they'll return to play the hit they have conspicuously so far avoided. You feel you've got your money's worth: the advertised package and a little more. So common is the practice that my colleague Matthew Turner, busy critic for Empire, the NME and elsewhere, now runs a ' post-credits sting watch ' on X. 'There are *both* mid-credits and post-credits stings on Sinners,' he wrote a few days after I saw Coogler's flick. Sinners enthusiasts on social media have, elsewhere, scolded some for leaving at what, until relatively recently, counted as the end. 'The lights didn't even go up guys!!' an Australian Xer posted. Hang on. Since when was that the rule? The practice could not have emerged in the first 60 years of cinema history, as – rendering the Casablanca quip above redundant – films did not regularly have end credits until the late 1960s and early 1970s. Ilsa got on the plane. Rick and Captain Renault committed themselves to a 'beautiful friendship'. The words 'The End' came up and you rushed for the exit. Nobody then got to see who was the 'insurance provider' or who was 'Mr Bogart's assistant'. That had to wait another 30 years or so. [ 'I couldn't sit through it': New Oscars rule requires members to watch all films before voting Opens in new window ] Fun stuff happened in end credits through the 1980s and 1990s. But this current incarnation started with the franchise gold rush in the early 21st century: short stings, usually pointing towards future developments in the series. The Marvel Cinematic Universe is a repeat offender. Nick Fury pops up at the end of Iron Man. Thor's hammer is discovered as that film's sequel closes. Lord knows why, in 2021, Harry Styles was dropped in among the credits for Eternals . We may yet find out. We may not care. All of which is easy to ridicule. Look at these rubes obeying the instructions of messianic studio heads on distant continents. The film is over. Get out of your seats and enjoy the sun. And yet ... The end-title sequence is a phenomenon that makes sense only in the cinema. Fans get to the theatrical release and, sitting transfixed in the dark, wait, unspoiled, for a pointer to future developments. The 007 films were doing this before end credits were a regular occurrence. Remember 'James Bond will return in …'? Anything that enhances the theatrical release is to be applauded. You are now aware Sinners is doing just that.
