7 | / 10 |
Users | 0.0 | |
Reviewer | 3.0 | |
Overall | 3.0 |
American GI Ernie Williams, admittedly weak-kneed, has an uncanny resemblance to British Colonel MacKenzie. Williams, also a master of imitation and disguise, is asked to impersonate the Colonel, ostensibly to allow the Colonel to make a secret trip East. What Williams is not told is that the Colonel has recently been a target of assassins. After the Colonel's plane goes down, the plan changes and Williams maintains the disguise to confuse the Nazis about D-Day.
Starring: Danny Kaye, Dana Wynter, Wilfrid Hyde-White, Margaret Rutherford, Diana DorsWar | 100% |
Comedy | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.35:1
Original aspect ratio: 2.35:1
English: DTS-HD Master Audio Mono
None
25GB Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
Movie | 3.0 | |
Video | 3.5 | |
Audio | 3.5 | |
Extras | 0.0 | |
Overall | 3.0 |
By 1961, the film careers of Danny Kaye and Bob Hope had begun to wane, in Hope’s case in quality if not in quantity,
but in Kaye’s case, both. Hope continued to churn out around one film a year through the sixties, plus a few isolated
cameo roles, but few if any of his films from this period were huge hits, and certainly none would be at the top of any
list of classic Hope comedies. Kaye on the other hand only made two films after 1961’s On the Double, 1963’s
The Man from the Diner’s Club and the rather unusual 1969 adaptation of Jean Giraudoux’s The Madwoman
of Chaillot. (Rather interestingly, this same property appeared on Broadway that same year, musicalized by Jerry
Herman and starring Angela Lansbury. It was a fairly big flop, though Lansbury still took home the Tony for Best
Actress in a Musical.) Kaye instead spent a few years in the sixties hosting his own CBS variety show, a show which
premiered the same year as the ill-fated Judy Garland Show on the same network. Kaye’s show wasn’t
expected to last, while Garland’s was touted as the show to finally beat reigning champ Bonanza, Quite the
opposite happened, and Kaye’s show, while never a blockbuster, lasted for three relatively well rated seasons. During
this period the comedian also continued his humanitarian work for UNICEF, and soon enough Kaye himself would be
back on Broadway in a musical, Richard Rodgers’ Two by Two, a musicalization of Clifford Odets’ The
Flowering Peach, about Noah and that big boat he built.
So in some ways, part of this decline in film fare was only
natural for both comics, as the probably easier climes of television called, and neither no longer needed the money. But
on another level, the faltering quality of these actors’ efforts during this period was indicative of a couple of facts. The
films they appeared in became more and more cookie cutter enterprises, and the very personae the two had
created over the course of rather long careers had perhaps reached the end of their shelf life. One of the interesting
things about this is that in some ways at least some of both Hope and Kaye’s work during the fifties and sixties was
largely interchangeable, especially with regard to the comedies the two made at Paramount. Take On the
Double, for example. Replace a couple of plot elements and locales, and the film is in fact itself a none too subtle
double of Hope’s My Favorite Spy
. In both films, the hero is a mild mannered guy who gets swept up in international intrigue and is forced to
impersonate a suave “insider” whom he happens to resemble. On another level, though, Kaye by this time was actually
ripping off himself, with a number of elements inserted into this outing that had proven to be popular in
previous Kaye outings. These of course included songs by his wife Sylvia Fine (a Kaye trademark), as well as a
forced cross dressing episode that sees Kaye attempting to pass as a foreign chanteuse (much like in Knock on Wood). Kaye had even
previously appeared in a dual-role comedy, another "on" film, 1951's On the Riviera, and so if at least some of
On the
Double seems like a retread (cynics might go so far as to say a Xerox copy), the reasons why are obvious.
On the Double is presented on Blu-ray courtesy of Olive Films with an AVC encoded 1080p transfer in 2.35:1. While there is the requisite amount of expected age related wear and tear on the elements used for this transfer, probably the biggest overall issue here is somewhat faded color. Reds have drifted slightly toward the orange side of things, flesh tones can look a bit too yellow on occasion, and even the soldiers' crisp green uniforms look a bit pallid. That issue aside, things look fairly good here, with Olive's typically unadorned approach, leaving everything intact, for good and ill. The image is stable if not mind blowingly well detailed. The film relies on opticals more than the typical comedy, especially in the effects shots where Kaye appears with himself, and those are noticeably more ragged looking, much softer and with increased grain and worse color (all to be expected). The next to the last screenshot accompanying this review shows one of these effects shots, and the difference between it and the bulk of this presentation is quite notable.
On the Double's lossless DTS-HD Master Audio Mono mix supports the film's fairly standard sounding track quite well. Dialogue is very well reproduced, though Hyde-White's narration has a slightly boxy sound. The film's music, including Kaye's singing, comes through quite will, with no clipping or other anomalies to report. Fidelity is very good, and dynamic range has a bit of a workout as things get more frenetic.
No supplements are offered on this Blu-ray disc.
On the Double has a certain "déjà vu all over again" feeling, but it's actually a lot more enjoyable than you might initially think it could be. Kaye is in fine form (or forms, as the case may be), and the supporting cast is stellar. If the general set up is pretty old hat, at least its delivery has a lot to commend it. This Blu-ray has some slightly problematic video and decent audio and comes Recommended.
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