Rating summary

Movie		3.5
Video		4.0
Audio		3.5
Extras		1.5
Overall		3.5

Sharpe's Classic Collection Blu-ray Movie Review

Break out your wallets, Sharpe fanatics...

Reviewed by Kenneth Brown April 13, 2011

In August of 2010, BBC Video released Sharpe's Challenge and Sharpe's Peril on Blu-ray; the fifteenth and sixteenth films in ITV's ongoing series. "Where are the first fourteen," Sharpe fans cried. Adding hopelessly, "will we ever see the entire series in high definition?" But Sharpe's dutiful legions didn't have to wait very long. Answering the call to arms, BFS Entertainment delivers the fourteen-film, eight-disc Sharpe's Classic Collection box set and, high pricepoint aside, devotees and newcomers will be pleased with the results.

Sharpe prepares to take the fight to the French...

Sharpe's Rifles (1993): Sharpe's rise through the British ranks begins in Portugal in 1809. After rescuing his commander, Sir Arthur Wellesley (David Troughton), from certain death at the hands of three French soldiers, Sharpe is promoted to lieutenant and placed in charge of a ragtag band of sharpshooters in desperate need of discipline. To the new lieutenant's chagrin though, the decision doesn't sit well with the unit's lead rifleman, Patrick Harper (Daragh O'Malley), and the two come to blows within minutes of meeting one another. But while mutual admiration is still a ways off, the unlikely friendship born between the two men eventually reveals itself as the backbone of the entire series. Frankly, the rest of Rifles' plot is secondary. Oh, there's a missing banker of great import to Wellesley, Spanish guerrillas aplenty, the first of many encounters between Sharpe and his first series lover, Teresa (Assumpta Serna), and a Spanish uprising to help incite, but it's Sharpe and his men's battlefield bonds -- not the particulars of their first mission -- that take center stage. And like any memorable '90s television drama (yes, even one in which power-guitar riffs muck up the tone and tenor of the historical fiction), director Tom Clegg's focus on Cornwell's characters and their relationships single-handedly makes the Sharpe series as effective as it is. No matter how pantomimed a punch may be, regardless of how much battle scenes resemble stilted historical reenactments, no matter how distinctly '90s the music score becomes, Sharpe's Rifles accomplishes everything an opening volley should.

Sharpe's Eagle (1993): As Wellesley prepares to go on the offensive in Spain, Sharpe and his men are ordered to babysit an inept commander, Sir Henry Simmerson (Michael Cochrane), his smug nephew, Gibbons (Neil Dudgeon), and the commander's ill-tempered lieutenant (Daniel Craig) as their struggling regiment attempts to destroy a crucial bridge. The trio doesn't take kindly to Sharpe's presence, especially when his quick thinking averts disaster, embarrasses Simmerson, and earns him a promotion to captain; a promotion Simmerson's nephew feels should have been his. The resulting conflict, as well as Sharpe's further interactions with Harper, his men and a pair of old acquaintances (David Ashton and Gavan O'Herlihy), make Eagle one of the best films in the series. Bean and O'Malley shoulder the burden of three intertwining plotlines, and allow Clegg to provide the first simultaneous glimpse into Sharpe the Man, Sharpe the Strategist and Sharpe the Hero. Other joys abound. Seeing 007 snort and sneer is great fun, watching Cochrane squirm and slither while Bean stands firm is thoroughly satisfying, and the third act of Eagle is as exhilarating as any. Still, bookworms will no doubt take issue with the differences between the novel and Clegg's adaptation, even if the changes entailed don't detract from the heart of the tale.

Sharpe's Company (1994): Even with Troughton and actor Brian Cox relinquishing their roles, Sharpe's Company holds the line. Three years after Sharpe's promotion to captain, Wellesley -- aka the Duke of Wellington (Hugh Fraser) -- is ready to drive the sword of the British army into French-controlled Spain. But Company brings the heavenward Sharpe back down to Earth. The arrival of a high-ranking colonel (Clive Francis) leads to a demotion, the loss of his men to another officer (Marc Warren) leaves him reeling, the shocking news that he has a baby daughter isn't taken lightly, Harper is framed for a crime he didn't commit, and an old enemy, Sergeant Obidiah Hakeswill (Pete Postlethwaite), tries to sully Sharpe's reputation in any way he can. The late Postlethwaite steals the show -- quite literally -- but only to Company's benefit. Clegg's third film represents a turning point for Sharpe, a trial by fire if you will, that tests his mettle and proves his worth. Attacked on all fronts, Bean absorbs Sharpe's every blow with strength and vulnerability, lending poise to Sharpe's tribulations, humility to his determination and ferocity to his noblest actions. Sharpe isn't a perfect man by any means, particularly as envisioned by Clegg and portrayed by Bean, but Company shows how perfectly flawed a character Cornwell first penned. So long as modern viewers brace themselves for the series' modest production values and melodramatic flourishes, the early Sharpe films still have a lot to offer.

Sharpe's Enemy (1994): Postlethwaite... ahem, Hakeswill returns with a vengeance in yet another solid Sharpe outing. Having captured a Portuguese village, a noblewomen (Elizabeth Hurley) and a French colonel's wife (Helena Michell), Hakeswill demands a ransom from both the English and French, a ransom Wellington tasks Sharpe with delivering. Nothing goes as planned, of course. Hakeswill impulsively doubles the ransom, leaving Sharpe with just five days to uncover the location of the women and mount a daring rescue with the help of his by-now-dear-friend Harper. The subsequent clash of wills and forces is an engrossing one, but several twists and turns undermine the story. Lady Isabella's past (or rather Sharpe's intimate and all-too-convenient knowledge of her past) didn't sit too well with me, nor did the death of one of the series' most intriguing and magnetic characters. (A sentiment Cornwell has echoed in interviews when discussing his decision to kill off the character in his novels.) Even so, Enemy rises above such shortcomings on the backs of Bean, O'Malley and Postlethwaite's ever-vigilant performances, and Clegg (as Cornwell before him) uses Sharpe's latest mission to explore fresh aspects of his titular hero's past and present.

Sharpe's Honour (1994): The year? 1813. Napoleon Bonaparte (Ron Cook) and one of his chief commanders, Major Pierre Ducos (Feodor Atkine), are growing tired of Sharpe's contributions to the English war effort. Plotting to disrupt the already tenuous alliance between England and Spain, Napoleon and Ducos frame Sharpe for the murder of a Spanish nobleman. If it seems a tad far-fetched to find a single soldier on the Emperor's radar just five films into the series, that's because it is. If forcing Sharpe to defend his honor yet again seems a bit redundant, that's because the inevitably baseless accusations that always seem to fall at his feet are starting to stack up. That said, anyone who's made it this far is in for the long haul, recurring plot points or no. Besides, Sharpe's Repetition is no more egregious than that of any other series hero, be he a Hogwarts boy-wizard or a Starship Enterprise captain. Cornwell cursed Sharpe with proving his innocence, restoring his honor and clearing his name time and time again, and Honour is merely the fifth in a long line of opportunities for the Englishman to do just that. There's also messy business involving the loss of a loved one, the Battle of Vitoria, and the near-demise of an ongoing foe. Through it all, Clegg, like Cornwell, weaves fiction into history with operatic grace, making Honour a worthwhile, albeit somewhat lesser film in the series.

Sharpe's Gold (1995): It doesn't get much worse than Sharpe's Gold. Writer Nigel Kneale doesn't merely detour from Cornwell's novel of the same name, he abandons it altogether. I wouldn't necessarily balk at such changes, at least not on principle alone. After all, taking liberties is the name of the game when it comes to adaptations like the fourteen collected here. But the departures Kneale makes from Cornwell's text and framework are so inane, so disrespectful, so cheesy, so poorly constructed and so haphazardly written that the resulting script rips the heart out of Sharpe's character, Cornwell's series and everything fans have come to love about the novels and films. It's almost as if Kneale already had an unrelated story lodged in mind and crammed Sharpe and Harper into a pre-existing narrative with little rhyme or reason. The setup? After successfully trading rifles for prisoners, Sharpe and his men go toe-to-toe with a Spanish guerrilla, the aptly named El Casco (Abel Folk), and rush to the aid of a young woman (Jayne Ashbourne) and her deranged father (Peter Eyre). Not so bad, right? Not at all... until you factor in a tribe of vicious Aztec descendants (who may as well be chanting "Kali! Kali! Kali!" in an underground cavern), rituals involving blood offerings and human sacrifices, a stash of gold treasure, ancient relics used for all manners of mysticism, a singing rifleman, a misguided romance... it staggers the imagination. I would suggest skipping this off-kilter, inconsequential misfire; you won't miss a thing.

Sharpe's Battle (1995): In a spectacularly sober return to form, Sharpe's Battle is a surefire way to cleanse the palette after enduring the debacle that is Sharpe's Gold. The Battle in question is one between Wellington's armies and French Brigadier General Loup (Oliver Cotton), a man whose first encounter with Sharpe leaves him hungry for revenge. After failing to breach Wellington and Sharpe's defenses, Loup resorts to dirtier tactics, kidnapping the wife (Allie Byrne) of influential Spaniard, Lord Kiely (Jason Durr), and eliciting his help to set a trap for Sharpe. Kiely is left to choose between loyalty and love as Sharpe finds himself in the thick of an all-too-deadly ambush. Battle doesn't break the Sharpe mold, but it does give Clegg a chance to atone for Gold. Once again, Sharpe, his men, and the hardships of the Napoleonic Wars are thrust into the spotlight and, once again, the stakes are high. We know Sharpe will live to fight another day, but Clegg's focus on each film's supporting players lends an air of unpredictability to an otherwise formulaic series. Will Kiely turn on Sharpe? Will Loup be able to manipulate Wellington's most trusted allies? Will Sharpe's comrades survive long enough to continue standing next to their fearless leader? Battle is an intense scuffle in the trenches that, distracting romantic subplots aside, does a fine job showcasing the cast's performances.

Sharpe's Sword (1995): One of the more involving entries in the series, Clegg's eighth film gains early momentum as our dutiful hero, desperate to convince his superiors that a prisoner in his custody is actually a dastardly French colonel, watches helplessly as his commanders make a grave mistake. Soon thereafter, Sharpe is dispatched to deal with a second colonel (Patrick Fierry) gunning for Wellington's finest spy. Sword features the return of shady Sir Simmerson (Cochrane), a traumatized young nun played by Emily Mortimer, a secret code begging to be cracked, a traitor in the English ranks, a full-fledged fort siege, and one of the smartest stories thus far. In true Sharpe fashion, Bean and O'Malley find new ways to cover old ground, and converging plotlines are given just the right amount of individual attention. Unlike many of its predecessors though, Sword strikes a near-perfect balance between action, intrigue and drama, and introduces a pair of terrific supporting characters (even though their presence is short-lived): English captain, Jack Spears (James Purefoy), and Irish priest, Father Curtis (John Kavanagh). Moreover, its mysteries unravel with gripping precision, Eoghan Harris' dialogue is some of the series' most refined, and the film's smartly strung spy-vs-spy maneuvering predates Infernal Affairs by some seven years.

Sharpe's Regiment (1996): With Wellington poised to plunge into France, Sharpe and Harper head to England to determine why reinforcements aren't being supplied to the South Essex Regiment. Their investigation uncovers a string of posh politicians and incompetent decision makers, inspiring Sharpe and Harper to secretly enlist as new recruits to see why soldiers aren't making their way to where they're needed. Three guesses as to who the culprit is. If you said Sir Henry Simmerson, you win a set of steak knives. Unfortunately, Regiment doesn't resonate and stands as a serviceable but forgettable distraction. Nine films in, Simmerson's slippery antics start to wear thin, yet another lovelorn Lady catches Sharpe's eye (Simmerson's niece, Jane Gibbons, played by Abigail Cruttenden), and only the most peripheral historical details will hold most viewers' interest. The performances aren't as potent either, not because Bean or O'Malley phone anything in, but because Charles Wood doesn't have as tight a grip on Sharpe and the Napoleonic Wars as the writers that came before him. Don't get me wrong, Regiment isn't a waste of disc space; it just isn't as captivating or remarkable as other films in the series.

Sharpe's Siege (1996): While Sharpe's Siege returns to the battlefield, it gets mired in shifting tones, convoluted campaign mechanics and muddy pacing. Like Regiment, Siege isn't a failure (at least not on the level of Sharpe's Gold), but it won't linger in your thoughts after the credits roll. Major Sharpe, now married to Simmerson's niece, has to leave his terminally ill wife's side to bolster a rebellion in Southwest France that -- surprise! -- involves a ghost from Sharpe's past, Pierre Ducos. The choice the Major has to make between his wife and his duty is a fascinating one, but co-writers Harris and Wood never really capitalize on the emotional meat of the situation. Sharpe, consumed with despair, tends to sulk and stagger, and Harper is left to shoulder the brunt of the duo's bloody burdens. O'Malley is an excellent actor, that much is certain. But the chemistry between Sharpe and Harper falls flat this time around, no thanks to a one-note script more concerned with the Bordeaux siege than the warriors mounting the attack. Those craving more action will cheer, but fans hoping to delve into Sharpe's soul will be mildly disappointed.

Sharpe's Mission (1996): Mission is the first of two movies in the Sharpe's Classic Collection based on an original script rather than one of Cornwell's novels. Not that anyone but the most diehard Cornwell fanatics would know it simply by watching the film. Mission not only mingles well with its fellow films, it carefully complements many of the running themes and ongoing storylines that wind through the series. Napoleon is, at long last, losing ground and falling back. Taking advantage of the Emperor's retreat, Wellington orders Sharpe, a headstrong colonel (Mark Strong), a disfigured British demolitions expert (Nigel Betts) and a trusted major general (James Laurenson) to take out a high-value target. But Sharpe, diligent as ever, begins to suspect one of his new companions may be a traitor and soon tries to root out the ne'er-do-well with the help of the lone survivor of a gypsy massacre (Berrin Politi). It all comes down to a tense, tangled endgame in which Sharpe bitterly crosses a very dangerous line he would have never considered breaching before. Although it's difficult to cut a swath through one of Sharpe's most heavily plotted missions yet, Clegg's eleventh film doesn't buckle or break, confidently pushing forward even when an extra twenty minutes (or fewer subplots to resolve) would have allowed Mission to clip along without a hitch.

Sharpe's Revenge (1997): You'd think that after so many foiled attempts, Sharpe's enemies would stop trying to pin their most heinous crimes on their most upstanding foe. Or, at the very least, that Wellington would have an attorney for Sharpe on permanent retainer. Instead, it's off to the gallows we go in a decent but entirely telegraphed film that's knocked down a rung or two by Sharpe's disloyal, rather obnoxious wife, Jane. This time, Sharpe is framed for theft and murder -- of Napoleon's gold and guards no less -- by returning series villain extraordinaire, Pierre Ducos. The problem with Revenge is that it feels all-too-familiar. Aside from a bit of melodramatic business involving Jane's wandering eye, Clegg doesn't bring anything new to the latest round of accusations brought against Sharpe. Bean and O'Malley's performances are as pointed as ever, but Harris' screenplay doesn't afford them much to chew on, devoting far more screentime to Jane than the character or Cruttenden's balmy efforts deserve. Sharpe's rescue and a Naples fortress siege offers two breaths of smoky, battlefield air, but they both owe a debt of gratitude to other films ripe with the sort of nervy swagger Clegg is aiming to emulate. Revenge is worth watching, to be sure. But it isn't Sharpe's finest hour, nor his most revealing.

Sharpe's Justice (1997): 1814. Napoleon is living out his days in exile and Sharpe returns to his native stomping grounds. But the new, post-war Yorkshire is dominated by social unrest; a trying reality that draws Sharpe into a home-brewed conflict. Before you can say "rehash," Sharpe is on the run, charged for inciting a local massacre he... wait for it, didn't incite. Justice is the second series entry based entirely on an original script (in this case by Patrick Harbinson). But it isn't nearly as gratifying as Sharpe's Mission, its industrial-era plot tends to drift too far off the beaten path, and the film only escapes the dreaded "worst of the bunch" label because Sharpe's Gold is so unbelievably bad. It's hard to fault Bean and O'Malley -- even if they seem less than enthused with the material at hand -- and it's even tough to fault Harbinson's noble intentions considering how much Revenge departs from the status quo. (Sharpe's umpteenth quest to prove his innocence notwithstanding.) Passable side adventure at best, mediocre filler at worst, it's little more than a lesser tale with lesser ambitions.

Sharpe's Waterloo (1997): The classic Sharpe films come to a close with Sharpe's Waterloo, a fitting (if not temporary) end to the series' initial run that wraps things up nicely. When Napoleon returns from exile, Wellington and Sharpe prepare to engage the scorned French Emperor's forces. But all of the trials Sharpe has overcome seem to return with Napoleon. Jane takes one last shot at her ex-husband, incompetency in the British command is at a deadly high, and fellow soldiers and old friends are dying at an alarming rate. Sharpe wavers in the onslaught, even going so far as to attempt the unthinkable, but ultimately weathers the storm, demonstrating the courage and selflessness that have captured the imagination of Sharpe filmfans and Cornwell readers over the course of the last thirty years. It isn't a flawless cap on Clegg's classic series, but it does bring Sharpe and Harper's character arcs to rewarding resolution without hindering the possibility of future films. (Sharpe's Challenge and Sharpe's Peril would eventually follow a decade later.)

Sharpe: The Legend (1998): The fifteenth "film" in the Sharpe's Classic Collection isn't a film at all, but rather a tiresome hour-and-a-half recap of the series in which an aging soldier recounts Sharpe's military service. Though well-made, it's wholly unnecessary and doesn't add anything of substance to the mix. Still, completists will be happy to have it on hand, even if it's presented in lowly standard definition on a DVD.

Sharpe's Classic Collection Blu-ray Movie, Video Quality 

I wasn't thrilled with the video quality of BBC Video's Blu-ray releases of Sharpe's Challenge or Sharpe's Peril, films produced in 2006 and 2008 respectively. As such, I dialed my expectations down as low as they'd go in preparation for BFS Entertainment's release of ITV's first fourteen films, each of which saw the light of broadcast day between 1993 and 1997, some ten to fifteen years earlier. In retrospect, I wish I had held onto hope. Each film in the Sharpe's Classic Collection looks quite good and has weathered the years surprisingly well. While the consistency of the 1080p/AVC-encoded transfers stabilizes a bit more with each passing production year, even the earliest Sharpe dramas -- Rifles, Eagle, Company and Enemy -- impress, overshadowing the series' previously released DVDs. Of course, the presentations aren't without aesthetic distractions. Grain and noise surge at inopportune times, nighttime patrols are decidedly less attractive than sunlit excursions, and minor crush and ringing come to bear on the proceedings. But many of the issues I encountered were a product of the series' original photography, cameras, limited budget and most problematic scenes, nothing more. And while it wasn't humanly possible to keep my eyes glued to every frame of fourteen feature-length films, I didn't catch sight of any significant artifacting, notable aliasing, or heavy banding. Softness abounds and closeups occasionally suffer (as would be the case in any '90s television drama), but there aren't any instances that should raise red flags. Likewise, mild smearing is apparent from time to time, but if DNR is the cause, its application is sparing, judicious and unobtrusive.

Otherwise, the image is suitably sharp and stable, edges and fine textures are unexpectedly satisfying, and source wear-and-tear is almost non-existent. Moreover, colors are faithful and lifelike, fleshtones are naturally saturated (minus a few flushed faces), black levels are fairly deep (especially for a '90s television production), and contrast is, for the most part, vibrant and inviting. Again, most of the picture's shortcomings seem to trace back to the series' source, and tolerating the harsh, at-times unruly noise that haunts battlefield advances, campfire discussions and other random scenes is the only concession viewers will have to make. Is there room for improvement? I would imagine so, given enough time, money and technical know-how. But it's clear that BFS Entertainment has gone to considerable lengths to give the films in the Sharpe's Classic Collection the attention, care and respect befitting a series of Sharpe's stature. I'm sure some will balk at the presentation as is, but only those expecting a water-into-wine miracle need fear disappointment. Simply put, Clegg's television films have never looked better.

Sharpe's Classic Collection Blu-ray Movie, Audio Quality 

Each film in the Sharpe's Classic Collection also earns a lossless DTS-HD Master Audio stereo track, besting the standard Dolby Digital surround mixes available on the BBC Video releases of Sharpe's Challenge and Sharpe's Peril. Though less-than-immersive, the films sound the part and stay true to their source. Dialogue is clean, clear and smartly prioritized, every orchestral beat and electric guitar anthem is given plenty of room to breathe, and gunfire, explosions and cavalry charges are nice and weighty despite the absence of proper LFE support. Like other aspects of the mid-90s production though, the series' sound design is chained to a modest budget, prone to noticeable ADR, no stranger to environmental noise and slight ambient interference, and bound to each film's television roots. Not that any serious fan of the series will complain. From Sharpe's Rifles to Sharpe's Waterloo, the first fourteen ITV movies have never and, barring a complete overhaul and an unlikely string of 5.1 remixes, will never sound better than they do here.

Sharpe's Classic Collection Blu-ray Movie, Special Features and Extras 

The Sharpe's Classic Collection may not offer any substantial supplemental features, but collectors will be pleased when they get their hands on BFS Entertainment's crate o' Sharpe. The wooden box itself is handsome, lightweight and durable, and comfortably houses eight standard-sized Blu-ray cases, a replica map of Napoleonic Europe, a letter opener crowned with a French Imperial Eagle, a certificate of authenticity, and a standard DVD copy of Sharpe: The Legend. And while Sharpe: The Legend is nothing more than a reasonably well-constructed recap comprised of clips from the films, its inclusion is appreciated. Why? After tossing it aside (and/or removing some of the collectibles), there's extra space in the crate to allow crafty do-it-yourselfers to squeeze in the BBC Video BD releases of Sharpe's Challenge and Sharpe's Peril. Meanwhile, Sharpe junkies with limited shelf space can simply remove the standard Blu-ray cases and discard the crate altogether; flexibility every collector's set should afford those willing to fork over a serious chunk of change to own it.

That said, $300 may nevertheless prove to be a high a price for everyone but the most devoted Sharpe fans. Seeing as Sharpe: The Legend is an extraneous addition, consumers are essentially being asked to pay upwards of $300 for fourteen made-for-television films spread across seven BD-50 discs. Even if the crate and collectibles justified a $50 upcharge, the remaining cost would still amount to almost $18 per TV movie and $35 per disc. Granted, each drama is the equivalent of a feature-length film, but a pricey set like this certainly won't help attract newcomers to the Sharpe fold. Hopefully, BFS Entertainment will release each pair of movies via seven separate releases in the near future. Otherwise, I can't imagine the series making much high-def headway.

Sharpe's Classic Collection Blu-ray Movie, Overall Score and Recommendation 

The Sharpe's Classic Collection crate is pricey, I'll admit. Enough to make skeptics out of the frugal among you. But fans of the ITV-produced Sharpe films and brave-n-bold newcomers with hefty wallets won't regret their purchase. Though a tad hit-or-miss on the whole, the series speaks for itself, the collection's video transfers are surprisingly strong, its lossless stereo tracks are fit and faithful and, while commentaries and production documentaries would be more appreciated, the set's pack-in collectibles will leave a smile on quite a few faces. BFS Entertainment's box set may be an expensive niche release, but it's a solid one. If you can't get enough Sharpe, this one is for you.