7.5 | / 10 |
Users | 0.0 | |
Reviewer | 4.5 | |
Overall | 4.5 |
Sutter Cane is this century's most widely read author and his novels have been translated into 18 different languages, spawning a billion dollar industry. When Cane vanishes just days before he's expected to deliver his last manuscript, his publisher hires John Trent to investigate his disappearance. Trent believe at first it's an ill conceived publicity stunt--until he and Linda Styles, Cane's editor, travel to New England. There, they wind up in a town that cannot be found on any ordinary map- called Hobbs End, a fictional village that exists only in Cane's novels. Has the investigation unearthed a fantasy world or has reality blended with the macabre imagination of Sutter Cane?
Starring: Sam Neill, Julie Carmen, Jürgen Prochnow, David Warner, John GloverHorror | 100% |
Mystery | 12% |
Thriller | 8% |
Surreal | 8% |
Fantasy | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.35:1
Original aspect ratio: 2.39:1
English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
5.1: 4134 kbps
English SDH
Blu-ray Disc
Single disc (1 BD)
Slipcover in original pressing
Region A (locked)
Movie | 4.5 | |
Video | 5.0 | |
Audio | 5.0 | |
Extras | 4.5 | |
Overall | 4.5 |
In 1992 the über movie executive and producer Michael De Luca penned a script that would evolve into a perfect vehicle for John Carpenter. In the Mouth of Madness concerns an insurance investigator whose admitted into a state hospital after his hellish journey into the cosmic world of an apotheosized horror novelist. As a connoisseur of Carpenter's oeuvre, I've read De Luca's ITMOM screenplay and can vouch that Carpenter's screen version is largely faithful. In the movie and script, book manuscript editor Linda Styles (Julie Carmen) tells the main protagonist, 34-year-old John Trent (Sam Neill), that her publishing company Arcane has a writer with not only the biggest legion of readers but also one whose more profitable than all the others: "Sutter Cane happens to be this century's most widely read author. You can forget Stephen King, Cane outsells them all." King is cited elsewhere in the script, including a prefatory epigram by King that's not in ITMOM's pre-credits: "It is the tale, not he who tells it." This quote is particularly significant to the crux of ITMOM. It isn't so much the story events in the novels that fascinate readers, although this is intrinsic to how the meta-narratives of ITMOM function. Rather, it's the cult of the author/creator and the mythological construction of that figure that drives the actions of the readers, who spring to life off the pages and into an alternative reality that transcends the novel's fictive discourse. De Luca and Carpenter seem most interested in the religious and obsessive phenomenon that transforms from the work itself to a malignant form of deification. Copies of Cane's novels are flying off shelves so quickly that society is turning into an anarchic state. The fictional universe of Cane is breeding or morphing into a world of its own. It's certainly apropos that in the early nineties, Robert Shaye, the then-CEO of New Line Cinema, presided over Carpenter's film and Wes Craven's New Nightmare. Both directors share some common semi-autobiographical aspects and thematic affinities in each work.
I first watched In the Mouth of Madness on a Netflix stream in 2010. That transfer looked like an upconvert of the DVD with plenty of video noise present. The Venetian blinds in the office of Jackson Harglow (Charlton Heston) showed aliasing. New Line finally released the film on Blu-ray in 2013, which my colleague Michael Reuben covered here. The transfer on this BD-50 is even more impressive from Shout! Factory, who did a 4K scan of the original film elements. ITMOM is presented in its original 2.35:1 Panavision aspect ratio. Authoring and compression is better than New Line. The MPEG-4 AVC-encoded transfer sports a mean bitrate of 35000 kbps while the full disc averages 45.68 Mbps. The print looks clean with a thin layer of grain visible. There is no mosquito noise and the aliasing is gone. I want to point out an apparent contradiction that Carpenter makes between his two commentaries. In the new track that Shout! recently recorded, he says that Harlow's office in the scene occurring in Screenshot #23 appears "darkened" compared to what's in the original master print. However, in the old track he recorded with cinematographer Gary Kibbe in the mid-nineties, he states that Trent and Harglow's figures were intentionally lit dark in an almost silhouette. Kibbe corroborates him and makes note that he wanted to give the office interior some fill light, which the shot does show. It may be a case in which Carpenter had a memory lapse and couldn't recall exactly how it was initially lit.
Shout! give viewers access to twelve scene selections. (The LD had twenty-nine stops; the DVD and New Line BD offered twenty-eight.)
Shout! Factory supplies a stunning rendition of the movie's 1994 DTS sound with an often ear-splitting DTS-HD Master Audio 5.1 Surround mix (4134 kbps, 24-bit). This track does full justice to the sound department's outstanding work. Carpenter and his crew create highly noticeable variances in pitch between quieter moments and cuts to a rapid montage, which are quite loud in their deployment of different f/x (e.g., thunder, sirens, glass shattering et al.). Discreteness, separation, and pitch levels are handled with perfection. Dialogue is clearly enunciated and bass levels sound fantastic. The score is composed by Carpenter and Jim Lang, who collaborated on Body Bags the previous year. The music features the two composers performing on synths, Carpenter on solo guitar, and Mike Baird on drums. The big standout on this 5.1 track is Dennis Belfield on bass guitar. Some of the big guitar twangs distinguishes this score from other horror scores.
The optional English SDH look complete and are free of spelling errors.
All of the Warner BDs available in North America, Europe, and Asia contain an audio commentary with Carpenter and his director of photography Gary B. Kibbe and the film's trailer. Shout! Factory has recorded several new substantive extras.
A fitting conclusion to Carpenter's "Apocalypse Trilogy," In the Mouth of Madness is a thinking person's horror film that requires one's upmost concentration. It contains some of the most complex editing that Carpenter's done in his long career. For those who own New Line's Blu-ray of the film, Shout! Factory's Collector's Edition is a substantial upgrade that is worth making the double dip. The transfer easily matches if not eclipses its predecessor and the thunderous DTS-HD MA 5.1 sounds fabulous. The new interviews and featurettes are very good if not excellent. The only extras missing that I would have liked to have seen are a retrospective doc, a new interview with Sam Neill, and a photo gallery. This is still a MUST OWN release.
Collector's Edition
1987
1982
2016
2001
2019
Midnight Madness Series
1987
2019
1976
1995
2006
1993
Collector's Edition
1966
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Count Dracula and His Vampire Bride
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1981
Collector's Edition
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1966