7.1 | / 10 |
| Users | 0.0 | |
| Reviewer | 4.0 | |
| Overall | 4.0 |
A contingent of Italian prisoners of war arrive on a train from Germany after World War II to Turin. The city where Ernesto lives has been bombed, his mother is dead and his sister has gone missing.
Starring: Anna Magnani, Amedeo Nazzari, Carla Del Poggio, Carlo Campanini, Mino Doro| Drama | Uncertain |
| Crime | Uncertain |
| Film-Noir | Uncertain |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.37:1
Original aspect ratio: 1.37:1
Italian: LPCM Mono
English
Blu-ray Disc
Single disc (1 BD)
Region B (A, C untested)
| Movie | 4.0 | |
| Video | 4.5 | |
| Audio | 3.5 | |
| Extras | 2.5 | |
| Overall | 4.0 |
Note: This film is available on Blu-ray as part of the
World Noir Vol. 5 set from Radiance Films.
Radiance Films is back with another volume in its continuing World Noir series. This edition features three Italian films that forge a bridge
between American noir sensibilities and Neorealism. There are some interesting names associated with the three films in this set, with
relatively early performances from future icons like Anna Magnani, Marcello Mastroianni and Gina Lollobrigida, and with the Lollobrigida film also
boasting a Federico Fellini writing credit, and with the Magnani film bearing the imprimatur of producer Dino De Laurentiis.
While not all of the following were sent for review purposes, for those interested in having a
"complete collection", links to the previous volumes can be found below:
World Noir Vol. 1
World Noir Vol. 2
World Noir Vol. 3
World Noir Vol. 4


The Bandit is presented on Blu-ray courtesy of Radiance Films with an AVC encoded 1080p transfer in 1.37:1. Radiance sent check discs for purposes of this review and so I'm not privy to any verbiage in an insert booklet, but their website states the set features "4K restorations of all three films from the original camera negatives", and there's further information courtesy of prefatory text cards before the main feature:
The 4K restoration of The Bandit [was] performed by the Cineteca di Bologna Foundation based on nitrate film and audio negatives provided by Cristaldi Film. The restoration was performed by L'Immagine Ritrovata and funded by the Ministry of Arts and Culture and the Ministry of Tourism.A couple of quick opening jokes should probably be dispensed with, the first of which is the pretty curious involvement of the Ministry of Tourism for a film that doesn't exactly show post-war Italy at least in the best light, and also a passing comment that with this being a black and white film the often questioning responses to the color timing L'Immagine Ritrovata has offered at times shouldn't be an issue. This is in fact a pretty ravishing looking presentation, with, yes, some interstitial moments of relative softness, but with a general clarity and precise fine detail levels that are very appealing. Some occasional extreme close-ups can reveal virtually every pore and wrinkle on various faces, and some of the costumes for Magnani in particular have nice texturing on the fabrics. Some very small blemishes have made it through the restoration guantlet. Grain resolves without any issues.

The Bandit features an LPCM Mono track in the original Italian. As with some other audio presentations in this set, there's a bit of roughness at higher amplitudes, including the hyperbolic music accompanying the opening credits, though arguably a bit less noticeably than in Against the Law. While the post looping does offer some noticeable mismatches between lip movements and the sounds emanating from them, in terms of actual intelligibility there are no real problems. There are some decently realized background ambient environmental effects as well, as in the opening train bound scene. Optional English subtitles are available.


The Bandit is admittedly a bit on the improbable side ultimately, but it's propelled by such an almost animalistic performance by Anna Magnani that even "nonbelievers" are apt to come along for the wild and unavoidably tragic ride. Returning veterans have been depicted in all sorts of global films as encountering innumerable difficulties as they attempt to rematriculate into "society" (or whatever is left of it), but few have the emotional power of The Bandit. Technical merits are generally solid, and the supplements appealing. Recommended.
(Still not reliable for this title)

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