6.9 | / 10 |
Users | 0.0 | |
Reviewer | 3.5 | |
Overall | 3.5 |
Millionaire Jewish entrepreneur Arthur Goldman (Maximilian Schell) benevolently rules his financial empire from a penthouse apartment overlooking Manhattan. Seemingly at the edge of sanity, Goldman holds forth on everything from Papal edicts to ex-wives, from baseball to his family's massacre in a Nazi concentration camp. When Goldman remarks on a blue Mercedes continuously parked outside his building, Goldman's captive audience of assistant (Lawrence Pressman) and chauffeur (Henry Brown) dismiss their boss' anxiety as encroaching paranoia. But each of Goldman's passionate, seemingly capricious ravings are transformed into a shocking, inadvertent deposition when Israeli agents capture Goldman and put him on trial as Adolph Dorf, the commandant of the concentration camp where Goldman's family was supposedly exterminated. In a trial scene of unrelenting intensity, Schell crafts what The Detroit Free Press called "a white-hot lead performance," mutating from eccentric Goldman to sociopathic Dorf and beyond.
Starring: Maximilian Schell, Lois Nettleton, Lawrence Pressman, Luther Adler, Lloyd BochnerDrama | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.84:1
Original aspect ratio: 1.85:1
English: LPCM 2.0 (48kHz, 16-bit)
BDInfo verified. Also confirmed in PowerDVD.
None
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
Movie | 3.0 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 3.0 | |
Overall | 3.5 |
The American Film Theater was a production company dedicated to the creation of movies based on stage plays and musicals, using a subscription- based releasing strategy to bring theater to the masses, not unlike today’s multiplexes, which host monthly opera offerings to packed houses. The idea was the preserve the source material, keeping the efforts spare and cheap, but also sustaining their artistic voice. Perhaps the most notable of the 13 endeavors was 1975’s “The Man in the Glass Booth,” which managed to secure a theatrical run that resulted in an Academy Award nomination for star Maximilian Schell, who pours his blood, sweat, and tears into his portrayal of an Adolf Eichmann-type put on trial in Israel for war crimes.
The AVC encoded image (1.84:1 aspect ratio) presentation for "The Man in the Glass Booth" is bright and largely clear, working from a "2K restoration from the original 35mm negative." Clarity is valuable throughout the viewing experience, with the effort largely immobile, inviting a deeper inspection of set design, acting subtleties, and Schell's old man make-up, which doesn't always hold up in HD, revealing cracks and stubble from a shaved head. Overall, colors come through as intended, enjoying a primary boost through costuming, while courtroom interiors remain intact. Skintones are natural. Delineation is adequate, only really challenged during evening sequences. Whites are a tad bloomy. Source has its rough spots, but nothing distracting, with speckling and mild scratching appearing throughout.
There's nothing truly exciting about the 2.0 DTS-HD MA sound mix. It's a functional track but not dynamic one, focusing intently on dialogue exchanges. Voices retain their loudness but age is apparent through sharper highs and crispy S-sounds. Room environments are largely preserved, securing necessary echo and expanse. Hiss is present throughout the listening event, and pops are periodically detected.
With a brief intermission to divide acts, "The Man in the Glass Booth" showcases the suffocation of guilt and the trial that puts the titular character through a routine of condemnation and rebuttal. Hiller maintains stagey qualities throughout (the play was originally written by Robert Shaw, who took his name off the movie), ignoring the cinematic possibilities of the material. This leaves "The Man in the Glass Booth" slightly dulled despite Schell's hurricane-inspired performance, making it a long journey to an inevitable conclusion.
Director's Cut
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