6.5 | / 10 |
Users | 0.0 | |
Reviewer | 3.5 | |
Overall | 3.5 |
A reflection of Federico Fellini's childhood obsession with clowns. Though comical and referred to as a "docu-comedy", the film explores deeper human conditions such as authority, poverty, humility, and arrogance, all of which manifest themselves through the characters of the clowns.
Starring: Federico Fellini, Anita Ekberg, Victoria Chaplin, Pierre ÉtaixForeign | 100% |
Documentary | 9% |
Comedy | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.33:1
Original aspect ratio: 1.33:1
Italian: DTS-HD Master Audio 2.0 (48kHz, 24-bit)
Italian: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
English
50GB Blu-ray Disc
Single disc (1 BD)
Region free
Movie | 4.0 | |
Video | 4.0 | |
Audio | 3.0 | |
Extras | 3.0 | |
Overall | 3.5 |
Having visited the circus once as a child and raised outside of the influence of the painted man arts, I’m not one to list clowns as a phobia, curling up in terror when a white-faced person of professional tomfoolery skips near. Those who suffer from coulrophobia (heavens, there’s actually a name for it) would be well advised to steer clear of the 1970 Federico Fellini effort, “The Clowns.” For viewers with a larger appetite for top shelf high jinks, the picture is an extraordinary time capsule of circus feats, blurring the line between fantasy and reality as a master filmmaker delves into his most cherished subject, whisking viewers across Europe on a hunt for unforgettable clowns. It’s a movie containing extensive performance footage, bizarre tales from the vocation, and rosy-cheeked sorrow for a dying art form. It’s Fellini’s childhood obsessions splashed across the screen, producing a pleasurably disorientating viewing experience.
“The Clowns” eschews a conventional route of documentation to weave in and out of reality, commencing with Fellini as a daydreaming child, confronted with a circus assembling outside his bedroom window. Drawn to the creative combustion occurring under the big top, Fellini spied a community of performers executing a myriad of outlandish gags and rehearsed acts of courage. However, the clowns and their aggressive horseplay eventually overwhelmed the young boy, forcing him out of the circus, yet their grotesqueries left an indelible mark. In 1970, still feeling the urge to educate himself on the temperament of clowns, Fellini gathers a small film crew and takes off across Italy and France, hoping to meet and interview legendary clowns, looking to understand the spirit of the business and the lasting zeal of the performers, all seemingly delighted to be offered the spotlight once again. As the journey winds around recollections and visits to historic circuses, sequences of the clowns at work raising comedic hell are provided, overseen by Fellini and his gang.
The AVC encoded image (1.33:1 aspect ratio) presentation brings Fellini's use of color to outstanding life, with restoration work capturing the intensity of fantasy carried within this picture. Hues are outstanding and stable, offering bold reds and golds, while clown make-up carries even greater visual power, revealing crisp whites. Clarity is exceptional throughout the feature, permitting a full read of facial character and autumnal locales, though the performance sequences benefit the most from the HD event, allowing viewers to study techniques and general circus oddity from a bygone era (the messy particulars of water play are easily observed), while retaining a textured cinematic feel with a respectful layer of grain. Skintones look healthy, as does shadow detail, which preserves dense costuming details. The print looks superb, free of any disruptions and damage. The restoration team did a terrific job bringing this title to BD.
The 5.1 DTS-HD MA sound mix doesn't offer a sensational dimensional effort, but it feels comfortable, cleanly arranging a cacophony of scoring and screen comedy. The mix prefers a frontal push, keeping the thickly dubbed Italian dialogue clean, separated well from the whimsical intensity of the clown performances. There's some mild circular ambiance with music offerings, but rear channels aren't terribly taxed and low-end is barely engaged. The track is best with broad acts of entertainment, handling the thin sound design well -- the sound is seldom tinny or unpleasant, staying composed even during the most madcap of detours. Sound effects are pronounced but never overwhelm the action, while audience participation registers loudly, sustaining the you-are-there ambiance.
"The Clowns" is a strange picture, but never alienating. The loving tone of the work keeps the wild activities compelling, and Fellini's infatuation with the topic provides a smooth pace up the final act. Climaxing with a clown "funeral" of sorts, the film goes haywire, unleashing a group of excited performers to accurately sell the extended play atmosphere of gig, flopping all over the frame, making use of props and vehicles to capture pure insanity. It's more clowning than anyone would ever need, but somehow I think Fellini feels he's shortchanging his audience. While vivid and researched, "The Clowns" seems like it only scratches the surface with his red-nosed, floppy-shoed obsession.
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