5.7 | / 10 |
Users | 0.0 | |
Reviewer | 2.5 | |
Overall | 2.5 |
A psychiatrist is haunted by his failure with a suicidal patient. While on a break from his own practice, he visits a friend and colleague who, soon thereafter, is brutally murdered. Hunting for the killer, he finds himself taking over his colleague's therapy group and simultaneously entering into an intense romance with a mysterious beauty who appears and disappears without explanation.
Starring: Bruce Willis, Jane March, Rubén Blades, Lesley Ann Warren, Brad DourifErotic | 100% |
Romance | 43% |
Drama | 24% |
Film-Noir | 14% |
Crime | 3% |
Mystery | Insignificant |
Thriller | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 2.0 (48kHz, 24-bit)
Spanish: Dolby Digital 2.0
English SDH
50GB Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
Movie | 3.0 | |
Video | 1.5 | |
Audio | 3.0 | |
Extras | 0.0 | |
Overall | 2.5 |
The story behind Richard Rush's Color of Night is at least as interesting as the loopy tale on screen. After the critical acclaim and award nominations showered on Rush's 1980 sleeper, The Stunt Man, the director seemed poised for a major career boost. Instead, he would labor for years over the screenplay of Air America, only to see it taken out of his hands by a new regime at MGM, re-cast with Mel Gibson and Robert Downey Jr. and rewritten into something he barely recognized. At about that time, super-producer Andrew Vajna, whose former company, Carolco, had produced such major hits as the original Total Recall, Terminator 2 and the Rambo series, approached Rush with an attractive proposition: direct Bruce Willis and then rising British starlet Jane March (The Lover) in a psychosexual thriller written by two up-and-coming screenwriters, Billy Ray (The Hunger Games) and Matthew Leonard (Runaway Jury). Rush took the job and has repeatedly said that production ran smoothly. The trouble began during editing. He and Vajna clashed over how to shape the film, and Rush did not have final cut. He did, however, have the right to demand simultaneous previews of their two versions—Vajna's 121-minute edit and Rush's 139-minute cut—with the winner to be determined by preview scores. When Rush's cut scored higher, Vajna tried to fire him. When the Director's Guild intervened, Vajna started a PR war in the press that was sufficiently ugly to prompt Steve Railsback, star of The Stunt Man, to write the Los Angeles Times in Rush's defense. Rush capitulated after a major heart attack (his second) sidelined him in the hospital for bypass surgery. The true meaning of "final cut", he would later say, is "the one they make in your chest". He agreed to let Vajna's version of Color of Night be released to theaters, as long as his cut went to video. Then he shocked Vajna by getting an R rating for the director's cut, even though its sex scenes were more explicit. Released on August 19, 1994, Vajna's Color of Night was critically panned, disappeared quickly from the box office and won the Razzie for 1994's worst picture. Rush was able to obtain some favorable reviews for his video version, which appeared on VHS and laserdisc the following year. Rush's version has lived on, while Vajna's has largely disappeared. 2018 Update: Vajna's cut has now been released by Kino Lorber, accompanied by a re-release of Rush's. A review and comparison can be found here.
Color of Night was released by Disney's Hollywood Pictures division. Given the erratic quality of Disney's own catalog releases on Blu-ray, it is no surprise that the quality of the masters they provide to Mill Creek is all over the map. The master provided for the 1080p, AVC-encoded presentation on this double feature Blu-ray is among the weakest I have seen in this series and certainly does not do justice to the late Dietrich Lohmann's (Deep Impact) colorful photography. The source material is in poor shape, with plenty of nicks, speckles, scratches and splotches. The overall image is soft, poorly defined and noisy, although here and there the image stabilizes for the duration of a few shots, e.g., in the scenes where Willis and March are in the swimming pool together. Colors are generally weak and less than fully saturated. A notable (and important) example occurs in several key transitions between gray and red, as the film shifts between Capa's crippled vantage and a more objective point of view. These changes should strike the eye forcefully, but they don't register with the appropriate impact, because the colors are washed out. Overall, this strikes me as an old transfer prepared for DVD and never updated. The results on Blu-ray are superior to what appeared on DVD, which suffered from such severe edge enhancement that halos were apparent even on small screens, but it is far from the quality that Blu-ray has to offer even from weak source material.
According to IMDb, Color of Night was released to theaters with a Dolby Digital soundtrack, which was becoming the norm for major theatrical releases in 1994. However, Rush's preferred cut, which is the only version that has been available on video, has never had more than a stereo track. Even the DVD released by Disney's Buena Vista Home Video in 1999 had only DD 2.0. If the studio spent the money to provide a 5.1 mix for Vajna's theatrical version, they obviously were unwilling to go any further after it flopped at the box office. The Blu-ray offers the standard 2.0 track as lossless DTS-HD MA 2.0, and it gets the job done. The dialogue is clear, as are the essential sound effects. However, there is virtually no surround presence or even much sense of stereo separation. The score by Dominic Frontiere (who also scored The Stunt Man) sounds good enough, though the reproduction lacks any depth or subtlety. The track is dominated by variations on the title song "The Color of the Night", which is performed over the closing titles by Lauren Christy and was the only element from the film nominated for anything resembling a genuine award (a Golden Globe).
A trailer (480i; 1.33:1) is available from a popup menu during playback.
Color of Night falls under the heading of "guilty pleasure", but it's also the kind of bad movie that reflects good intentions and serious effort by a director of genuine talent. Now in his eighties, Richard Rush is unlikely to make many more films (if any), and everything in his regrettably small body of work deserves a look. Someday Disney may give the film (along with many others in its vaults) a decent treatment, but until then this version from Mill Creek appears to be the best we can get.
(Still not reliable for this title)
2002
2004
Limited to 250 sets / Signed & Numbered
2004
2001
Lucía y el sexo | Unrated Director's Cut
2001
1993
2014
Unrated Director's Cut
1992
1981
Collector's Edition
2006
Limited Edition
1980
Unrated Edition
2010
Limited Edition to 3000
1959
Emanuelle nera
1975
1983
Bad Timing: A Sensual Obsession
1980
1993
1994
Special Edition
1992
Limited Edition to 3000
1950