Blu-Ray Round-Up: Imperialists and their Semitic Subjects Embroiled in Deadly Struggle — That’s Entertainment!

Today we’re talking about three deluxe Blu-Ray releases of three highly notable films, each hugely important and influential in their own way. Coincidentally, each film also deals with what happens when European powers decide they’d really like to control a piece of the Islamic and/or Judaic world.

* “Ben Hur”— I finally caught up with this most popular of religious epics many moons ago at the Cinerama Dome in Hollywood, where it was introduced by it’s then elderly but still fairly hale star, Charlton Heston. Heston might have still been in good shape in the late 1990s or early 2000s, but the 35mm print that was shown on the giant screen, theoretically the best then available, was washed out and wan.

That disappointment is now a thing of the past with a restoration made frame-by-frame from the original 65mm negative that was so painstaking this “50th Anniversary” edition of the 1959 film actually arrives 52 years after the original “Ben Hur” release. At last, the spectacle looks as spectacular as a spectacle should, even if it’s now on relatively small home screens. (My 42 incher is by far the biggest TV I’ve ever had, but it’s obviously not the Cinerama Dome.)

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RIP John Barry

Good film music enhances movie scenes. Great film music takes a good, bad or indifferent scene and lifts it into the stratosphere. Really great film music does that and is also enchanting to listen to in any context. By that measure, John Barry is one of the best film composers ever.

He might have lacked some of their complexity, but in emotional and melodic terms he is very much on a par with the greatest film composers of all time, including Ennio Morricone, Nino Rota, and Bernard Herrmann — and their music charted much less frequently. John Barry could write a complex, soaring pop hit that might make Burt Bacharach jealous. He wasn’t afraid to be over-the-top when the job called for and embraced a certain level of kitsch where appropriate. He didn’t over-value subtlety.

Mr. Barry died yesterday in New York from a heart attack at age 77, not super young but another twenty or thirty years of his presence on the planet would have been nice, too. Even today, when many young film viewers are only barely aware that some guy named Sean Connery once played James Bond, if I ask almost anyone to think of “spy music,” they’re probably going to think of either the actual music from the early James Bond films or music heavily influenced by it. That’s just scratching the surface.

Barry evoked beauty, longing and mystery for all kinds of films. His 111 composing credits included Oscar-winning scores for “Out of Africa,” “Born Free,” the colonial war classic “Zulu,” his groundbreaking combination of scoring and music supervision on “Midnight Cowboy,” the cult fantasy-romance, “Somewhere in Time,” a now very obscure 1972 live-action musical version of “Alice’s Adventures in Wonderland” and Richard Lester’s masterpiece, “The Knack and How to Get It.” Other scores include “Dances With Wolves,” “The Lion in Winter,” and the three movies that starred Michael Caine as anti-Bond workaday spook, Harry Palmer. Barry had the spy market cornered, and he was one very cool cat.

If you’ve never heard his fascinating and funny 2004 interview with NPR’s Terry Gross where he discusses “million dollar Mickey Mouse music,” now’s a good time. As you can always bet on, there’s much more at MUBI and be sure to check out this anecdote from Sir Michael about being present at the creation of a pop masterpiece. After the flip, just a few somewhat random clips of some of Barry’s best.

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Film geek Sunday

A segment from an English TV documentary about director Sergio Leone and composer Ennio Morricone’s collaboration on “The Good, the Bad, and the Ugly”  and “Once Upon a Time in the West” and more good stuff, including Claudia Cardinale and food, and Rudy Giuliani-loving Republican actor James Woods’ apparent semi-agreement with the European Marxist interpretation of American history back in 2000. Interesting stuff all around and, of course, Quentin Tarantino is in it. Like they could keep him out of it.

  

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