6.9 | / 10 |
Users | 4.0 | |
Reviewer | 3.5 | |
Overall | 3.5 |
A no account outlaw establishes his own particular brand of law and order and builds a town on the edges of civilization in this farcical western. With the aid of an old law text and unpredictable notions Roy Bean distinguishes between lawbreakers and lawgivers by way of his pistols.
Starring: Paul Newman, Jacqueline Bisset, Tab Hunter, Stacy Keach, Roddy McDowallWestern | 100% |
Comedy | Insignificant |
Romance | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.78:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A, B (C untested)
Movie | 2.5 | |
Video | 4.5 | |
Audio | 4.0 | |
Extras | 0.5 | |
Overall | 3.5 |
Judge Roy Bean was an actual historical figure, a bar owner and justice of the peace in Pecos
County, Texas. By all accounts, he was a colorful and corrupt public official, who styled himself
"the Law West of the Pecos", held court in his saloon and was known to fine offenders for
whatever money they had on them, which he kept for himself. (His reputation as a "hanging
judge" is a fictional embellishment.) He named one of his establishments "The Jersey Lily" in
honor of actress Lillie Langtry, whom he admired but never actually met. He was a hustler, an
entrepreneur and a scoundrel, and to screenwriter John Milius he was a figure of romantic
fascination. Milius compared him to Colonel T.E. Lawrence, a/k/a Lawrence of Arabia, and
declared: "That's the kind of people who built this country!"
Bean may not be as well known as Wyatt Earp or Billy the Kid, but he has appeared regularly in
Western tales. Walter Brennan won an Oscar for playing him in William Wyler's The Westerner.
Edgar Buchanan played him in a short-lived TV series from the Fifties entitled Judge Roy Bean.
Versions of him have appeared on TV in series as diverse as Death Valley
Days (in the Sixties),
Fantasy Island (in the Eighties) and Streets of Laredo (in the Nineties).
But in the Seventies, Bean was played on the big screen by Paul Newman in The Life and Times of Judge Roy Bean, directed by John
Huston from a screenplay by Milius. Although Milius was
routinely on the set, he appears to have been little more than a sounding board for Huston, who
had his own ideas about the film—and Milius hated the result, which he dismissed as "a movie
about Beverly Hills people". He particularly disliked the casting of Newman, who had snatched
the script away from Lee Marvin, to whom Milius originally sent it. The film was produced
through First Artists, the company Newman established with Sidney Poitier and Barbara
Streisand (later joined by Dustin Hoffman and Steve McQueen) in an attempt to replicate the
success of Chaplin, Pickford, Fairbanks and Griffith with United Artists. Production through
First Artists gave Newman a significant degree of control over the final product, while Milius
was relegated to the sidelines. The experience prompted him to become a director; so, if nothing
else, we can thank Judge Roy Bean for giving us The Wind and the Lion and Conan the Barbarian (among others).
Huston's Judge Roy Bean is an odd film, a Western cult classic with devoted fans (of which I am
not one). For those fans, or the merely curious, the Warner Archive Collection has added the film
to its Blu-ray catalog in a new transfer that captures the frontier dust and grit of this bizarre entry
in Paul Newman's filmography. (It was said to be one of his favorite roles.)
The Life and Times of Judge Roy Bean was shot by Richard Moore, a co-founder of Panavision,
whose work as a cinematographer grew out of his experience of manufacturing cameras for the
industry. He would reunite with John Huston ten years later for Annie
, after which he returned his
full attention to his increasingly influential camera company. Moore's lighting for Judge Roy
Bean, much of it shot on Arizona locations, runs the gamut from dim interiors to simulated
nights to bright sunlit exteriors. Shooting "flat" instead of in anamorphic widescreen, he was able to work
with less light and to compose with fewer concerns about distortion or depth of field.
For this 1080p, AVC-encoded Blu-ray, the Warner Archive Collection commissioned a new scan
of an interpositive, which was performed by Warner's MPI facility at 2K. Although the IP was of
recent vintage, it still reflected a significant accumulation of dirt and damage acquired by the
film's negative over the years. MPI used a Technicolor dye-transfer print as a reference for color-correction, and WAC subjected the master to
intensive cleaning to remove dirt and repair
scratches and other age-related flaws. As always on WAC's Blu-ray, the cleaning was performed
by hand, frame by frame; no automated process was employed.
The Blu-ray image is an excellent rendition of Judge Roy Bean's colorful frames, with a
gently film-like texture that captures fine detail in both foreground and background and a well-resolved reproduction of the film's natural grain
pattern. Rich earth tones predominate in this
(mostly) frontier setting, but they routinely contrast with colorful elements like the finery worn
by the town prostitutes and the even finer clothing acquired by a group that becomes
"respectable" (don't ask how). A brief side trip to San Antonio supplies a dramatic change in
palette, as well as an entirely new look for the title character on the rare occasion when he dresses
up. Black levels and contrast are accurate, although there may some of the familiar complaints
about "crush" because many of the interiors are dim and the film has a large number of scenes
shot "day for night", a process that reduces both contrast and detail. However, the Blu-ray
accurately reproduces the source as Huston and Moore shot it. WAC has authored the film at its
usual high average bitrate, here just a fraction under 35 Mbps.
Judge Roy Bean's mono soundtrack has been taken from the original magnetic master, which was in good shape and required only minimal cleanup. As usual with mono mixes, WAC has encoded the track in lossless DTS-HD MA 2.0. It's an effective audio accompaniment, reproducing dialogue clearly, along with an array of key sound effects. Dynamic range isn't noteworthy, but it's sufficiently effective for gunshots, as well as a number of explosions in a key sequence. Ironically, given the screenwriter's comparison of the title character to Lawrence of Arabia, the film was scored by the composer of David Lean's epic, Maurice Jarre, who did his best to adapt his musical accompaniment to Judge Roy Bean's abrupt tonal shifts.
The only extra is a trailer, which has been remastered in 1080p. Warner's 2003 DVD was similarly bare.
Paul Newman seemed to delight in roles that subverted his matinee idol image, and Judge Roy
Bean ranks high on the list of the actor's efforts to play against type. In his youth, even
Newman's disreputable characters were charming (like Hud or Fast Eddie Felsen), and it took
him a while to master the kind of off-putting eccentricities that finally began to gel in Robert
Altman's Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976). In Judge Roy
Bean, he always seems to be trying too hard, and Huston appears to have let him get away
with whatever he felt like doing on the day. (Then again, the director seems to have given
himself the same license.) Still, for those who appreciate the Judge, WAC has given him its usual
superior treatment on Blu-ray, which is recommended on its technical merits.
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1951
Limited Edition to 3000 - SOLD OUT
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Warner Archive Collection
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Roadshow Edition
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Authentic Collector's Edition
1963
Limited Edition to 3000
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2K Restoration
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