7.1 | / 10 |
Users | 4.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
Harry Collings returns home to his farm after drifting with his friend, Arch. His wife, who had given up on him, reluctantly allows him to stay, and soon believes that all will be well again. But then Harry has to make a difficult decision regarding his loyalties and priorities.
Starring: Peter Fonda, Warren Oates, Verna Bloom, Robert Pratt, Severn DardenDrama | 100% |
Western | 46% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: LPCM Mono (48kHz, 24-bit)
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (locked)
Movie | 4.0 | |
Video | 4.5 | |
Audio | 4.0 | |
Extras | 3.5 | |
Overall | 4.0 |
It's probably near impossible to totally divorce Peter Fonda from his father's impact, perhaps especially within the confines of the western idiom that the younger Fonda exploits in the often stunningly beautiful The Hired Hand. Henry Fonda’s filmography is long and diverse, spanning several decades and well over one hundred appearances in either big screen or television outings. With a history that commanding, it’s probably unfair to even try to pigeonhole the actor in only one genre, and yet it’s the western that tends to loom large in any analysis of Fonda’s contributions to the Art of Cinema. Fonda’s very first film appearance in 1935 might seem to be a western based on its title, The Farmer Takes a Wife, but while it may be possible to kind of stuff this “square peg” into that “round hole”, since the film does kinda sorta deal with a rural setting in the 19th century, it's actually more of a comedy of manners. Even Fonda’s follow up in 1935, Way Down East, might manage to qualify (if only barely) as a western, but it’s probably 1936’s The Trail of the Lonesome Pine which might be thought of as the first “real” western of Fonda’s career. The subsequent years provide a veritable laundry list of both notable and perhaps less stellar westerns that starred or featured Fonda, including 1939’s Jesse James and Drums Along the Mohawk, 1940’s The Return of Frank James, 1943’s The Ox-Bow Incident, 1946’s My Darling Clementine, 1948’s Fort Apache, 1957’s The Tin Star, 1962’s How the West Was Won, 1965’s The Rounders, 1966’s A Big Hand for the Little Lady, 1967’s Welcome to Hard Times, 1968’s Firecreek and Once Upon a Time in the West, and 1970’s The Cheyenne Social Club and There Was a Crooked Man just some of the many films that helped establish Fonda as a stalwart of what Variety used to call “oaters”. That said, even a cursory glance over all of the above titles might suggest that many of Fonda’s “westerns”, like the very first two films I listed, tended to stretch the boundaries of the genre and were perhaps “westerns” in name only. Which brings us to The Hired Hand, Peter Fonda’s elegiac ode to a bygone era, and one which tends to play on both his family legacy as well as his father’s tendency to appear in supposed westerns that may have had more on their filmic minds than “simple” showdowns and shootouts.
The Hired Hand is presented on Blu-ray courtesy of Arrow Academy with an AVC encoded 1080p transfer in 1.85:1. Arrow's insert booklet contains the following information on the transfer:
The Hired Hand is presented in its original aspect ratio of 1.85:1 with mono sound. The film was restored in 2001 by NBC Universal with the participation of director Peter Fonda, using the original picture negative as its primary source element. The High Definition master was made available by NBC Universal via Hollywood Classics.This is an often staggeringly beautiful film, but perhaps surprisingly it tends to be on the dowdy brown side a lot of the time, as perhaps can be gleaned from some of the screenshots accompanying this review. Also, as is kind of humorously addressed in some of the supplements included on this release, while Fonda initially told editor Frank Mazzolla "no montages", montages are exactly what Mazzolla provided, and there are a lot of opticals here, with superimpositions and the like. Add to that some stylized lensing choices, and detail levels can understandably be somewhat variable throughout this presentation. In less stylized moments, detail and fine detail levels are typically excellent and the palette, while not overly warm, looks authentic. Grain resolves naturally for the most part, save for a couple of spikes on occasion, including in some darker scenes, where perhaps the secondary element alluded to above was used.
The Hired Hand's LPCM Mono track is often quite evocative, despite its inherent narrowness, offering both nicely rendered ambient environmental sounds with a clear accounting of the wonderful score by Bruce Langhorne, a kind of "jangly, rootsy" affair featuring instruments like hammered dulcimer. Dialogue is similarly offered cleanly and clearly, and the track shows no evident signs of age related wear and tear.
- Barkeep Innuendo (1080i; 1:16)
- Dumb Animals, Horses (1080i; 2:21)
- Morning After (1080i; 1:41)
- Lookin' for Work (1080i; 4:51)
- Saloon School (1080i; 9:54)
- Gunfight (Alternative Ending) (1080i; 3:19)
- Trailer 1 (1080i; 1:26)
- Trailer 2 (1080i; 00:53)
- Trailer 3 (1080i; 2:33)
- Trailer 4 (1080i; 2:01)
- TV Spot 1 (1080i; 1:02)
- TV Spot 2 (1080i; 00:32)
- TV Spot 3 (1080i; 00:23)
- TV Spot 4 (1080i; 00:13)
- Radio Spot 1 (00:44)
- Radio Spot 2 (00:28)
- Radio Spot 3 (1080i; 00:28)
- Radio Spot 4 (1080i; 00:11)
The Hired Hand has a lot going on just beneath a fairly tamped down surface, and for that reason some viewers may feel there isn't anything going on. Even for those folks, Vilmos Zsigmond's lovely cinematography and Bruce Langhorne's wonderful score may provide more than enough distraction, and the film is also graced with nice, lived in feeling, performances from the principal cast. Technical merits are solid, and Arrow has also provided some enjoyable supplements. Recommended.
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