7.7 | / 10 |
Users | 0.0 | |
Reviewer | 3.0 | |
Overall | 3.0 |
Comedy about Coca-Cola's man in West Berlin, who may be fired if he can't keep his American boss's daughter from marrying a Communist.
Starring: James Cagney, Horst Buchholz, Pamela Tiffin, Arlene Francis, Howard St. JohnComedy | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.35:1
Original aspect ratio: 2.35:1
English: DTS-HD Master Audio 2.0 Mono (48kHz, 16-bit)
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (locked)
Movie | 3.0 | |
Video | 3.0 | |
Audio | 4.0 | |
Extras | 3.0 | |
Overall | 3.0 |
1961’s “One, Two, Three” isn’t just a Billy Wilder movie, it’s the helmer’s follow-up to “The Apartment,” which is largely considered to be one of the maestro’s finest achievements during his long directorial career. However, instead of aping his success, Wilder and co-writer I.A.L. Diamond decide to head in the opposite direction, arranging a farce with “One, Two, Three,” which takes place in Cold War-era Germany, right before the construction of the Berlin Wall. The men also invest in speed, keeping the feature moving along at an incredible pace, preserving the material’s theatrical origins with an endeavor that’s loud and broad, treating the widescreen frame as a stage.
The AVC encoded image (2.35:1 aspect ratio) presentation isn't working with a particularly visual movie, as much of "One, Two, Three" is about performances, not cinematographic style. However, depths are preserved, capturing open sets and urban locations, and the actors are open for examination with some blurriness, offered passable detail for close-ups, and costuming remains fibrous. Delineation isn't challenged in full, but there's no solidification. Source is in decent shape, without any major points of damage.
With all the volume "One, Two, Three" has to offer, it's amazing just how settled the 2.0 DTS-HD MA sound mix is, miraculously avoiding distortive extremes as the ensemble remains on high alert. Comedic speeds and individual timing is clear, making performances stand out, and the group dynamic is nicely ordered, without confusion. Scoring isn't precise, but it remains appealing, supporting the feature's manic energy with reasonably defined instrumentation. Atmospherics are satisfying, and set expanse retains a slight echo.
Perhaps "One, Two, Three" could be perceived as somewhat distasteful, providing cartoon representation of torture tactics and Nazi influences, but the feature is far too silly to make a heavy impression. Wilder enjoys the warp speed he's summoned, working on tightening every inch of the production to trampoline standards, adding wit when possible. But funny? "One, Two, Three" doesn't provide many laughs, and its run time starts to feel like punishment as Wilder repeats himself for emphasis. It's a curiosity, no doubt, and one that demands consideration as a post-"Apartment" blow-out, watching Wilder release his wiggles with this oddball, relentless effort.
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