6.2 | / 10 |
Users | 0.0 | |
Reviewer | 3.0 | |
Overall | 3.0 |
Western comedy starring Mae West. Ruby Carter (West) is a cabaret singer working in Mississippi. In a man's world, Ruby has little trouble surviving on her own terms, resisting the attentions of a deluge of lecherous men. Instead, she reserves her affections for a boxer called The Tiger Kid (Roger Pryor).
Starring: Mae West, Roger Pryor, Katherine DeMille, John Miljan, Duke EllingtonWestern | 100% |
Comedy | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.35:1
Original aspect ratio: 1.37:1
English: LPCM Mono
English SDH
Blu-ray Disc
Single disc (1 BD)
Region B (A, C untested)
Movie | 3.0 | |
Video | 3.5 | |
Audio | 3.5 | |
Extras | 2.5 | |
Overall | 3.0 |
Note: This version of this film is available on Blu-ray as part of Mae West in Hollywood.
For a star who was perceived to be such a voluptuous female sex symbol, Mae West had, well, swagger. Just look at the way she
gallivants,
even
marauds, physically through
her scenes, walking almost like a prize fighter observing some prey she's just devastated. She frequently has a masculine mien in her gait, hands
on
hips almost threateningly, and with a kind of pugnacious attitude that nonetheless never completely masks a rather unexpectedly sweet and kind
aspect to many of her characters, even if those characters are just as apt to be tough as nails. Specifically in terms of West's memorable saunter, if
none of her
other unforgettable aspects, one of the commentaries included with this set calls West's distinctive stride a "shimmy" that West supposedly
overtly stated was culled from watching black women, though some may jokingly wonder if West was also watching black men for a few
pointers. What is
kind of fascinating about West's ineluctable allure in terms of behaviors and mannerisms, though, is how she manages to be slyly seductive and
ridiculously overheated almost
simultaneously, but it's
instructive to note that this layering of attitudes and demeanors, as well as "mere" physical presence, was part and parcel of West's own writing
and character building acumen, since it
seems only obvious that West was more than aware that she was putting on a show on any number of levels. West's proclivities as "another" kind
of
auteur, one who crafted a series of films that frequently were based on West's own ideas and/or writing, are rather prominently on
display in this handsome new(ish) set from Powerhouse Films' Indicator imprint, which aggregates
together ten features ranging from 1932 to 1943.
Belle of the Nineties is presented on Blu-ray courtesy of Powerhouse Films' Indicator imprint with an AVC encoded 1080p transfer in 1.35:1. The back cover of this release touts a "2021 restoration. . .from a 4K scan". As with some other films in this set which feature the imprimatur of a 4K scan, expectations should probably be tempered, at least somewhat, as this is another presentation that still shows some pretty significant signs of age related wear and tear, and in fact a careful perusing of the screenshots I've uploaded to accompany this review will show things like scratches, nicks and other blemishes. The overall look here is somewhat soft without tons of fine detail at times, with a rather heavy grain field which at least indicates no artificial digital scrubbing has been employed. My score is 3.75.
Belle of the Nineties features an LPCM Mono track which capably supports the film's music and dialogue, albeit once again with a lack of real dynamic range and an overall boxy, narrow and shallow sound. There are no real signs of major damage, but there is some noticeable background hiss. Optional English subtitles are available.
Powerhouse Films has packaged this release with both I'm No Angel and Belle of the Nineties sharing a disc. The following is a complete listing of supplements on the disc:
It's understandable that once Mae West became "Mae West" in the eyes of the public, no one wanted to tweak things too much, since there was a financial killing to be made in just leaving things the same. But even putting aside some of the repetitive elements at play in Belle of the Nineties, and with an understanding that censors may have put the kibosh on something more freewheeling (and therefore entertaining), there's a certain lack of energy in this film which may suggest that even West's heart wasn't really in it, at least fully, perhaps at least partially due to the interference of outside "advisors". Technical merits are decent, though the advertised "4K restoration" needs to be understood within the context of an archival element which has some damage.
(Still not reliable for this title)
1935
Masters of Cinema
1954
Masters of Cinema
1926
1937
1940
1936
Masters of Cinema
1920
1985
1936
1943
I quattro dell'apocalisse
1975
1929
1917
1916
1916
1927
1916
BFI Flipside
1979
1917
1917