| Users | 0.0 | |
| Reviewer | 4.0 | |
| Overall | 4.0 |
See individual titles for their synopses.
| Music | 100% |
| Documentary | 57% |
Video codec: MPEG-4 AVC
Video resolution: 1080i
Aspect ratio: 1.39:1
Original aspect ratio: 1.37:1
English: LPCM 2.0
English: DTS-HD Master Audio 5.1
English, French, German, Portuguese, Spanish
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
| Movie | 4.0 | |
| Video | 4.0 | |
| Audio | 4.5 | |
| Extras | 1.5 | |
| Overall | 4.0 |
Don McLean’s lyric for his totemic anthem American Pie contained the following memorable lines:
I can't remember if I criedAs has been discussed pretty much ad infinitum since that song’s release, McLean is probably referencing the deaths of Buddy Holly, Richie Valens and The Big Bopper in a chartered plane crash in 1959. For those born after this tragedy, there’s another “day the music died” which is most likely indelibly imprinted in many memories, namely December 8, 1980, when assailant Mark David Chapman lay in wait for John Lennon and Yoko Ono at the couple’s iconic condo The Dakota, where Chapman gunned down Lennon at close range and in cold blood. I don’t think I had a television back in those days, and so didn’t hear about the tragedy until the morning of December 9, when I showed up at work and an assistant of mine asked how I was feeling, to which I mumbled a kind of confused “okay” before he told me what had happened the night before. I remember literally leaving my office to run down to the street to buy a paper, which was of course emblazoned with the news in a huge font across the front page.
When I read about his widowed bride
Something touched me deep inside
The day the music died.


Imagine and Gimme Some Truth are presented on Blu-ray courtesy of Eagle Vision, an imprint of Eagle Rock Entertainment, and
Universal Music Group, with AVC encoded 1080i transfers in 1.39:1. Both of the films feature rather involved restoration credits at the end which
document a seemingly ungainly time period spanning from 2010 to 2018 to complete the process. Why that's the case is unknown to me
(and the documentation provided with this release doesn't offer any clues), but considering some of the variances on display, especially in
Imagine, I'm wondering if completed versions might have needed to be cobbled together from different sources. The interesting interviews
included in the insert booklet suggest that at least Gimme Some Truth was sourced largely from 16mm, but both films on this release have
an at times grainy and fuzzy appearance that suggest smaller formats. That said, footage like the interstitial scenes featuring Jack Palance look
decidedly rougher than the at times already pretty soft bulk of footage, and I wonder if perhaps a few 8mm home movies might have been included
(see screenshot 29 for an example of what the Palance footage can look like when compared to most of the rest of Imagine). The palette is
a bit more suffused on Imagine than Gimme Some Truth (and it looks like some duplicate elements of Imagine footage
may have been used for Gimme Some Truth), though both features retain a generally accurate accounting of the colors. Fine detail tends
to vary based on lighting sources and proximity to the camera. While it evidently took eight years to restore these features, whatever corrective
gauntlet the elements were put through missed a number of things like hairs in the gate, some of which stick around for quite long periods of time.
Screenshots 23 - 26 show some of these hairs (look both at the tops and bottoms of the frames), while screenshots 27 - 29 document some of the
rougher looking moments.
Screenshots 1 - 10 are from Imagine and screenshots 11 - 19 are from Gimme Some Truth. For those wanting a few more
examples from each film, I've uploaded additional screenshots to our "placeholder" standalone entries for Imagine and Gimme Some Truth - The Making of John Lennon's Imagine Album. Also, for
those curious, Imagine runs 1:07:59 while Gimme Some Truth runs 1:03:41.

Both films in this set feature LPCM 2.0 and DTS-HD Master Audio 5.1 tracks, though the disc has been authored to default to the stereo version. My recommendation is to opt for the surround track on Imagine, since it significantly ups amplitude and reproduction of the mid- and lower ranges, while preserving excellent clarity and breathing room for Lennon's sometimes rather sparse arrangements. While there are a few moments of "dialogue" (or "telephone" whispering), the bulk of Imagine is the music, and the surround track is a much more energetic accounting of the album (and Yoko's sometimes kind of weird caterwauling). The difference is less pronounced on Gimme Some Truth, since so much of that piece is made up of John and others talking about the music (though this piece does feature quite a few snippets of either rehearsals or actual recording sessions).

- Jealous Guy
- How?
- Gimme Some Truth

Is there an overly pretentious quality to Imagine? Yeah, probably — but, ultimately, who cares? It's amazing to see this "home movie" in all its glory, and even if there are some (like this reviewer) who aren't huge Yoko fans, there's something rather heartwarming about seeing John and Yoko having fun with each other. Gimme Some Truth is really kind of revelatory in its own way, with John coming off as a sometimes tempestuous sort who might have been a bit prickly to work with. Technical merits are solid, and Imagine and Gimme Some Truth come Recommended.