QUO VADIS [1951 / 2009] [Blu-ray] [UK Release] The Most Colossal Ever! This Is The Big One! Splendour, Savagery and Spectacular! Three Years in the Making! Thousands in the Cast! Filmed in Rome!
Rome burns. Nero fiddles. Christianity rises. And moviegoers turned out in throngs for that years-in-the-making film colossus boasting eight Oscar® nominations, including Best Picture. Robert Taylor plays the Legion commander whose love for a Christian slave girl [Deborah Kerr] and crosses the divide between Empire and a sect with a higher loyalty. Presiding over all is Nero [Peter Ustinov]. He is Caesar, madman, murderer and an imperial ruler of the spectacular, and spectacularly doomed, glory that was Rome. Narrated by Walter Pidgeon.
FILM FACT No.1: Awards and Nomination: 1951 National Board of Review, USA: Win: NBR Award for Top Ten Films. 1952 Academy Awards®: Nominated: Best Picture for Sam Zimbalist. Nominated: Best Actor in a Supporting Role for Leo Genn. Nominated: Best Actor in a Supporting Role for Peter Ustinov. Nominated: Best Cinematography in Color for Robert Surtees and William V. Skall. Nominated: Best Art Direction-Set Decoration in Color for Cedric Gibbons, Edward C. Carfagno, Hugh Hunt and William A. Horning. Nominated: Best Costume Design in Color for Herschel McCoy. Nominated: Best Film Editing for Ralph E. Winters. Nominated: Best Music, Scoring of a Dramatic or Comedy Picture for Miklós Rózsa. 1952 Golden Globes: Win: Best Supporting Actor for Peter Ustinov. Win: Best Cinematography in Color for Robert Surtees and William V. Skall. Nominated: Best Motion Picture in a Drama. 1952 Directors Guild of America: Nominated: DGA Award for Outstanding Directorial Achievement in Motion Pictures for Mervyn LeRoy. 2013 International Film Music Critics Award: Win: Best Archival Re-Recording of an Existing Score for Miklós Rózsa (music), Nic Raine (conductor) , James Fitzpatrick (album producer), Luc Van De Ven (album producer), Frank K. DeWald (liner notes) and Ginko Digi (album art direction).
FILM FACT No.2: The musical score by Miklós Rózsa is notable for its attention to historical authenticity. Miklós Rózsa incorporated a number of fragments of ancient Greek melodies into his own choral-orchestral score. At the end of the film, a triumphal march heralds the success of the armies of the new emperor, Galba. This theme would be re-used by Miklós Rózsa in ‘Ben-Hur’ [1959] as the brief “Bread and Circuses March” preceding “The Parade of the Charioteers,” prior to the famous chariot race. Miklós Rózsa love theme for Lygia was set to words by Paul Francis Webster and Mario Lanza sang it for the first time on his radio show broadcast on January 1952.
Cast: Walter Pidgeon (Narrators voice), Robert Taylor, Deborah Kerr, Leo Genn, Peter Ustinov, Patricia Laffan, Finlay Currie, Abraham Sofaer, Marina Berti, Buddy Baer, Felix Aylmer, Nora Swinburne, Ralph Truman, Norman Wooland, Peter Miles, Geoffrey Dunn, Nicholas Hannen, D.A. Clarke-Smith, Rosalie Crutchley, John Ruddock, Arthur Walge, Elspeth March, Strelsa Brown, Alfredo Varelli, Roberto Ottaviano, William Tubbs, Pietro Tordi, Marika Aba (uncredited), Adriano Ambrogi (uncredited), Anna Arena (uncredited), Alfred Baillou (uncredited), Giacomo Barnas (uncredited), Scott R. Beal (uncredited), John Binns (uncredited), Francesca Biondi (uncredited), Alice Bishop (uncredited), Carlo Borelli (uncredited), Leslie Bradley (uncredited), Alfred Brown (uncredited), Phyllis Brown (uncredited), Valentino Bruchi (uncredited), Rosemary Burt (uncredited), Dante Ciriaci (uncredited), Frank Colson (uncredited), Adrienne Corri (uncredited), Luca Cortese (uncredited), David Craig (uncredited), Maurice De Bosardi (uncredited), Daniel De Jonghe (uncredited), Michael De Krasny (uncredited), Liana Del Balzo (uncredited), Jack Del Rio (uncredited), Lia Di Leo (uncredited), Eduardo Di Persis (uncredited), Mildred Dudzik (uncredited), Gabriella Fabrizio (uncredited), Franco Fantasia (uncredited), Cesare Fasulo (uncredited), Al Ferguson (uncredited), Enzo Fiermonte (uncredited), Enrico Formichi (uncredited), John Fostini (uncredited), Lydia Fostini (uncredited), Dino Galvani (uncredited), Richard Garrick (uncredited), Gianni Gazzoti (uncredited), Jack George (uncredited), Carlo Ghisini (uncredited), Trudy Glassford (uncredited), Joan Griffiths (uncredited), Evelyn Guignard (uncredited), Robin Hughes (Christ voice) (uncredited), Adam Jennette (uncredited), Philip Kieffer (uncredited), Gipsy Kiss (uncredited), Lee Kresel (uncredited), Richard Larke (uncredited), Sophia Loren (uncredited), Giovanni Lovatelli (uncredited), Helena Makowska (uncredited), Anna Mancini (uncredited), Michael Mark (uncredited), Clelia Matania (uncredited), Richard McNamara (uncredited), Harriet Medin (uncredited), Dario Michaelis (uncredited), Ernesto Molinari (uncredited), John Myhers (uncredited), Vincent Neptune (uncredited), Attillio Olivo (uncredited), Riette Osborne (uncredited), Anna Maria Padoan (uncredited), Riccardo Pantellini (uncredited), Louis Payne (uncredited), Aldo Pini (uncredited), Alberto Plebani (uncredited), Michael Proben (uncredited), Dino Raffaelli (uncredited), George Restivo (uncredited), Kenneth Richards (uncredited), Alfredo Rizzo (uncredited), Giuseppe Rodi (uncredited), Amerigo Santarelli (uncredited), Leonardo Scavino (uncredited), Joseph Sebaroli (uncredited), Alessandro Serbaroli (uncredited), Jurek Shabelewski (uncredited), John Sleeter (uncredited), Lujo Sostarich (uncredited), Armando Spaccarelli (uncredited), Bud Spencer (uncredited), Jane Sprague (uncredited), Raffaele Tana (uncredited), Elizabeth Taylor (uncredited), William Taylor (uncredited), Michael Tor (uncredited), Giuseppe Tosi (uncredited), Carlo Tricoli (uncredited), Renato Valente (uncredited), Scilla Vannucci (uncredited), Giuseppe Varni (uncredited), Dianora Veiga (uncredited), Harry J. Vejar (uncredited), Romilda Villani (uncredited), Benjamin Wilkes (uncredited) and Maria Zanoli (uncredited)
Director: Mervyn LeRoy and Anthony Mann (uncredited)
Producer: Sam Zimbalist
Screenplay: Hugh Gray (uncredited), John Lee Mahin, S. N. Behrman, Sonya Levien and Henryk Sienkiewicz (based on the novel)
Composer: Miklós Rózsa
Cinematography: Robert Surtees (Director of Photography) and William V. Skall (Director of Photography)
Image Resolution: 1080p (Technicolor)
Aspect Ratio: 1.37:1
Audio: English: 1.0 Dolby Digital Mono Audio
English: 2.0 Dolby Digital Stereo Audio
French: 1.0 Dolby Digital Mono Audio
German: 1.0 Dolby Digital Mono Audio
Italian: 1.0 Dolby Digital Mono Audio
Spanish [Castilian]: 1.0 Dolby Digital Mono Audio
Spanish [Latin American]: 1.0 Dolby Digital Mono Audio
Subtitles: English SDH, French, German, Italian, Spanish [Castilian], Dutch, Chinese [Traditional], Korean, Spanish [Latin American], Portuguese, Danish, Finnish, Portuguese [Brazilian], Swedish and Chinese
Running Time: 174 minutes
Region: All Regions
Number of discs: 1
Studio: Metro-Goldwyn-Mayer / Warner Bros
Andrew’s Blu-ray Review: ‘QUO VADIS’ [1951] is a super-spectacle in all its meaning. ‘QUO VADIS’ is the 1951 historical epic about the reign of Emperor Nero and the conflict between Christianity and the Roman Empire. The captiousness about the story line, some of the players' wooden performances in contrast to the scenery-chewing of Peter Ustinov as Nero, is part and parcel of any super-spectacular.
‘QUO VADIS’ is often credited with launching the historical epic craze that swept Hollywood in the 1950s, along with DeMille's ‘Samson and Delilah’ from 2 years earlier. Its larger than life spectacle, cast of thousands, and gaudy Technicolor splendour was intended as an alternative to the growing threat of television and in 1953 CinemaScope would add the widescreen aspect ratio to Hollywood's arsenal of weapons in the ongoing battle.
‘QUO VADIS’ is based on the classic 1895 novel by Henryk Sienkiewicz and had a long history on film. The feature length 1913 Italian version was the first true historical epic ever made for the big screen. It was so popular around the world that when it premiered in America in 1914 it became the first movie ever to play in a legitimate Broadway Theater at a then unheard of price of $1.00 a ticket. This was a full year before DW Griffith's ‘The Birth of a Nation’ would launch the Hollywood epic.
Following the opening credits, voice-over narration by actor Walter Pidgeon introduces the setting of the story, with action that opens on the Appian Way in 64 A.D., outside Rome, a "corrupt state on the cusp of destruction." The narration also describes "a miracle" that happened thirty years previously, following the death of Christ. The film's original novel title is spoken in the scene in which "Peter" has a vision of Christ and utters the words Quo vadis, Domine?; which comes from the Gospel of St John XVI.5 and is traditionally translated from Latin as "Whither goest Thou, Lord?" Within the film, there is a brief flashback sequence in which Peter describes his first meeting with Christ and subsequent time as an apostle. The picture closes with voice-over narration reciting a passage from St. John XIV.6 "I am the way, the truth, the life."
The film takes place in 64-68 A.D. and is a mixture of true historical characters and events and fictional ones. Throughout the movie we get to see Emperor Nero, his extravagant lifestyle, how he sang and played his musical instrument, how he persecuted Christians (true historical fact) and how he burned the city of Rome (not a verified historical fact but a rumour at the time) and later blamed the Christians. Peter Ustinov does a great job at playing the Nero character. In the film, we also see apostle Peter [Finlay Currie].
‘QUO VADIS’ is the story of a Roman military commander called Marcus Vinicius [Robert Taylor] a fictional character who returns from war and falls in love with a Christian woman called Lygia [Deborah Kerr]. Lygia is the adopted daughter of a retired Roman general and technically a hostage of Rome. Marcus manages to convince Nero to give him Lygia. Even though she hates the idea at the beginning, she eventually falls in love with Marcus. After the Great Fire of Rome, Nero goes after all the Christians and Marcus Vinicius tries to save Lygia and her family. Marcus Vinicius, Lygia and her family are then captured and imprisoned and condemned to be killed in the arena. In the prison, Apostle Peter marries them.
In the arena, Lygia is tied to a wooden stake and her bodyguard must try to kill a wild bull otherwise she will be gored to death. Marcus is forced to watch this but Lygia's bodyguard manages to kill the bull. Marcus then frees Lygia with the help of his troops and a revolt breaks out against Nero who is suspected of starting the fire in Rome. The Roman people quickly figure out that Nero was the “incendiary” responsible for the burning of their beloved city. However, Nero decides with the help of his slutty Empress Poppaea [Patricia Laffan] that in order to deflect the blame from him, a victim needs to be scapegoated. From there, he decides that the Christians, who refuse to engage in worshiping the emperor as a god, make the best victims. Nero then decrees that it was the Christians who burned Rome and as such, they are to be all rounded up and fed to the lions in the colosseum as public entertainment.
As the crowd and council demand that Lygia and Ursus are spared, Vinicius announces to the public that Galba will soon take over as emperor of Rome. Nero flees the arena to his palace, which is surrounded by throngs of irate Roman citizens. Accusing Poppaea of encouraging him to make martyrs of the Christians and thus cause his downfall, he chokes his wife to death then locks himself in his room. Slave Acte is waiting there and hands her master a dagger, telling him to kill himself like an emperor. A coward to the end, Nero begs her to help him plunge the knife into his breast. In the following days, as Galba's troops march into Rome, Vinicius admits that all dynasties are destined to fail and observes that hope resides in one faith that will unite the world. Soon after on the road out of Rome, Nazarius shows Lygia, Vinicius and Ursus the blessed spot where God spoke through him to Peter, which is marked by Peter's upright cane covered with blooming vines.
The film was a massive big production at the time to the tune of $7.6 million. For example, 32,000 costumes were used! And even though it was produced in 1951, it was all in colour. The images and the views of Rome and of Nero's palace throughout the film are quite impressive. ‘QUO VADIS’ was the biggest money maker of 1951 and M-G-M's biggest hit since ‘Gone with the Wind’ a dozen years earlier. And as stated above with the FILM FACT that it was nominated for 8 Academy Awards® including Best Picture and two for Supporting Actor, Leo Genn as Petronius, and Peter Ustinov for his flamboyant turn as Nero and both men were deserving of the Academy Awards® and for opposite reasons. ‘QUO VADIS’ is a quintessential historical epic that holds up remarkably well more than 60 years after it was made.
‘QUO VADIS’ is a magnificent major motion picture. It has beautiful scenery, wonderful costumes and fantastic cinematography, and is as accurate a capture of ancient Rome as was possible with 1951 technology. The set designs are sheer artistry. ‘QUO VADIS’ is a stunning spectacle with an excellent script, fine performances and holds up very well today. The best part of this spectacular film is Peter Ustinov’s performance as the mad Emperor Nero. Peter Ustinov is totally focused on the role so much so that he captures the screen in the scenes that he is in. Peter Ustinov’s performance is the absolute best portrayal of Nero yet given by an actor in a movie. Ustinov plays the role instead of converting the character into a reflection of himself. Peter Ustinov should have won the Academy Award® for his performance. Peter Ustinov did, however, win the Golden Globe® Award.
Blu-ray Image Quality – Metro-Goldwyn-Mayer presents us ‘QUO VADIS’ with a beautifully restored 1080p encoded image and an equally impressive 1.37:1 aspect ratio. The image is bright, clean, and bursting with the luxuriant, vibrant hues with the three-strip Technicolor. It also exhibits a lovely film-like feel, thanks to a grain structure that lends the picture texture and depth, but never distracts or diminishes clarity. Though not every speck and nick has been removed, those that remain are almost imperceptible, except during the opening title sequence and especially Nero's purple robe, Lygia's flaming red hair, and the glistening gold goblets and breast plates all grab attention, but not at the expense of the image as a whole and the colours burst forth, and when they are showcased, such as when Nero and Poppaea peer through tinted glasses to spy on their guests during a lavish party, the effect is breath-taking. Inky blacks lend depth to nocturnal scenes, but shadow detail is never obscured, and the perfect lighting enhances contrast, so the image always looks vital. This is a superb effort from Metro-Goldwyn-Mayer that once again proves how fabulous classic films can look in 1080p. ‘QUO VADIS’ really transports you to another time; to ancient Rome, to vintage Hollywood. And it makes us appreciate this glorious Blu-ray technology not only for what it can do for the present and future, but also for the past.
Blu-ray Audio Quality – Metro-Goldwyn-Mayer brings us ‘QUO VADIS’ with a 1.0 Dolby Digital Mono, that was rumoured to be presented in Dolby TrueHD, but sadly we have to experience just plain old original monaural audio is offered on this Blu-ray disc. Technically M-G-M has done a good job restoring and refurbishing this sonic relic, removing all age-related pops and crackles. A faint touch of hiss remains, but it's only noticeable during moments of extreme quiet, and even then you really have to listen closely to pick it up. Dialogue is always clear and easy to understand, but occasionally sounds a bit hollow, while effects such as the roars of lions and crackles of flames benefit from fine presence and realistic detail. Miklós Rózsa's majestic score, however, doesn't fare as well, and it's here that the source limitations become evident. The low sounds are more stable, they never elicit the warmth and robust fullness necessary for a film of this sort and they never really give us the warmth and robust fullness necessary for a film of this sort. Deficiencies are most evident during the overture and exit music, which has been rightly reinserted into the print for the first time in 56 years, as well as during moments of high drama, such as the burning of Rome. Still, for such a motion picture of 1951, ‘QUO VADIS’ sounds as good as it probably can expect, and better than most productions of that period.
Blu-ray Special Features and Extras:
Audio Commentary by F.X. Feeney [Critic/Film Historian]: Here F.X. Feeney discusses about the New Ultra-Resolution Digital Transfer of the film ‘QUO VADIS,’ which was one of M-G-M’s most glorious grand-scale productions that launched the age of the 1950s epic blockbusters. As the films starts with the ‘QUO VADIS’ title F.X. Feeney introduces himself and also informs us that films English translation is “Where are you going” and is here to guide you through 1950s Hollywood. F.X. Feeney informs us that the film was conceived by Polish Henryk Sienkiewicz novel “Quo Vadis: A Narrative of the Time of Nero” that was originally published in 1895 and was one of the best-selling novel of its time, which sold in excess 50,000,000 copies worldwide. We are also informed that while director Mervyn LeRoy was preparing to start filming and was very nervous of the project, but with his professional outlook, the film was a massive box office success. But one thing we find out is that Mervyn LeRoy loves to set up scenes, especially when we first glimpse Nero [Peter Ustinov]. We also get some in-depth information about the actor Robert Taylor, who was originally named Spangler Arlington Brugh Taylor on 5th August, 1911. But it was in his 16th year with M-G-M when he made ‘QUO VADIS,’ in Rome, he was ensconced in a large apartment that had eight rooms, five servants, and a chef to the former King of Italy, two cars and one with a chauffeur and to make it all work for Robert Taylor he had to get up every day at 5:00pm and had to go to bed at 10:00pm. But we also here that Robert Taylor got on with Deborah Kerr, who was always good humoured with her male actor. F.X. Feeney also touches upon all of the essential elements of ‘QUO VADIS,’ and F.X. Feeney discusses the film's religious and political themes, analyses the characters, tosses in production titbits, and compares actual Roman history to the events portrayed on film, where ‘QUO VADIS' gets it right most of the time. F.X. Feeney also quotes from the memoirs of Peter Ustinov, Mervyn LeRoy, and John Huston, who was the first director attached to the project, and the excerpts he reads add marvellous colour and flavour to the track. We hear more fascinating facts from F.X. Feeney, where he informs us that at the height of the shooting the film, they had 30,000 extras over three week period, they also had over 8,000 people just for the production of the film, then there were also over a 100 speaking parts and 1,200 costumes were made for the film and they joked that 20,000 aspirins were consumed every day, still I am not surprised, the logistic of making this film must have been a nightmare. There were all told 500 skilled carpenters working on 1,500 sets and there was at least a minimum of four Technicolor cameras working most of the time, as they had to make sure certain scenes were captured at the same time. When we see the scene when the Christians are at their nigh time secret rendezvous, F.X. Feeney informs us that the actor Finlay Currie [20 January 1878 – 9 May 1968] was 72 years of age when he appeared in this film and of sadly passed away in 1968. When we see Nero again admiring the massive model of his planned New Rome, that is supposed to a historical fact, but at the same time doing the unthinkable of pursuing the Great Fire of Rome, which was an urban fire that started on the night between 18 and 19 July in the year 64 AD and it caused widespread devastation, before being brought under control after six days. When we get to the part where Robert Taylor rushes the burning city of Rome, we are informed that according to M-G-M records, that 4,000 gallons of fuel oil was used, 2,000 gallons of gasoline (petro) was used, 3,000 gallons of special alcohol mixture was used to make the flames to jump a certain way, 50 of 20 gallon takes of butane (organic compound with the formula C4H10) were used at any given moment and there was also 2 miles of pipes were used to control the fire. Also from the M-G-M records we are told that Robert Taylor had 36 costume changes, Deborah Kerr’s blue dress had 4,000 beads sown into the dress and her banqueting gown was made by a dozen Italian housewives in a small Italian town. Throughout the filming of ‘QUO VADIS’ 23,000 costumes were made and used, where they used 52,400 yards of material, there were also 15,000 handmade sandals that took 3 months to make by Italian artisans, there were also 4,000 soldier breast plates made, 2,000 battle shields and helmets were made, 2,000 frying pans were used, 12,800 period jewels were made, which were copied from museum pieces, which as you can see were mind blowing statics. The filming was originally going to be started in July 1949, but with lots of technical and logistic delays, filming was started on the 2nd May, 1950 and was finally finished in November 1950. There were 6,000 feet of film shot and there were six first aid stations dotted around the massive Cinecittà film studio set. They also had 16 assistant directors on had to control the massive crowd scenes. Of course F.X. Feeney gives away much more information on the filming of ‘QUO VADIS,’ because I have only scratched the surface on this epic film. But of course with a film lasting 174 minutes, F.X. Feeney does sometimes loses some steam toward the end and who wouldn't after 174 minutes, But despite this his spirited enthusiasm delivery maintains interest throughout the film. It is now up to you if you feel you can sit down and watch the film again with the audio commentary with F.X. Feeney, as you will get to hear some really fascinating facts on the making of ‘QUO VADIS,’ happy viewing!
Special Feature: In the Beginning: ‘QUO VADIS' and the Genesis of the Biblical Epic [2008] [480i] [1.78:1] [43:54] This fascinating documentary really fleshes out the ‘QUO VADIS' story, and deftly combines film scholar interviews with a variety of clips, stills, and archival footage. This special feature looks at Hollywood's fascination with ancient Rome, and the parallels filmmakers often drew between Rome and the modern USA; the popularity of the original Nobel Peace Prize-winning best-selling novel and the two Italian silent films it spawned, which are ‘QUO VADIS' [1913] and ‘QUO VADIS' [1925] and clips of both are included. We also get to view two other silent film clips that include ‘The Birth Of A Nation’ [1915] and ‘Intolerance’ [1916]. We also get a lengthy production history of M-G-M's ‘QUO VADIS' dating back to the mid-1930s; and the underrated direction of Mervyn LeRoy; the music of Miklós Rózsa; and the film's clever marketing tie-ins. This is a very thoughtful, well-produced examination of a very important historical film of Rome, this documentary will appeal to both fans of ‘QUO VADIS' and those interested in the art and influence of motion pictures. Contributors include: Dr. Maria Wyke [University College London]; David Franzoni [Writer/Producer]; F.X. Feeney [Critic/Filmmaker]; Dr. Drew Casper [USC School of Cinematic Arts]; Sir Christopher Frayling [Royal College of Art, London], Patricia King Hanson [American Film Institute]; Richard Schickel [Film Critic/Historian; Dr. Richard B. Jewell [USC School of Cinematic Arts]; Harrison Ellenshaw; Rudy Behlmer [Motion Picture Historian]; Dore Schary (archive footage); Gary Smith [Author] and Miklós Rózsa [Composer].
Theatrical Trailer [1951] [480i] [1.37:1] [5:10] This is the Original Theatrical Trailer for the film ‘QUO VADIS.’ For some unknown reason that for 22 seconds it is totally silent. But despite this, it is still a brilliant presentation.
Teaser Trailer [1951] [480i] [1.37:1] [1:00] This is the Original Theatrical Trailer for the film ‘QUO VADIS.’ You also get to view a teaser focus on the film's epic proportions, and both use the influential LIFE Magazine quote that ‘QUO VADIS' is "the most genuinely colossal movie you are likely to see for the rest of your lives." Despite a very short presentation, it still makes you want to view this film.
Finally, ‘QUO VADIS' is a totally lavish spectacular film which has no shame in being outrageously lavish, as the various scenes of Christians in the amphitheatre testify; make time in your schedule to settle down with it. ‘QUO VADIS' is the absolute best Roman epic ever made. The decor, costumes, and art direction certainly have not been matched by anything that followed, including ‘Spartacus,’ ‘Ben Hur’ and ‘Gladiator.’ ‘QUO VADIS' is an excellent colossal film that is certainly well worth your time. ‘QUO VADIS' originated and defined the modern Hollywood epic, and this marvellous Blu-ray release from Metro-Goldwyn-Mayer puts the film back on its rightful pedestal. Spectacle and pageantry abound in this bold historical drama that also features thoughtful ideas and wonderful performances by a solid international cast. The breath-taking 1080p image quality brings it all to life, and a fine array of supplements enhances the experience. Fans of this Classic Hollywood genre of this film will definitely want to purchase this one, and everyone else should strongly consider taking a good, long look at ‘QUO VADIS' as they will never ever be able to produce a similar film on this scale, as it would be far too expensive, despite this, this film will stop any withdrawal symptoms, and will breathe life back into these Hollywood spectacles that were so prevalent in the 1950s era. The only thing I find mysterious, is why was it not filmed in CinemScope, as it was filmed when all those other spectacular 1950s historical epic films came out at the same time. Also why couldn’t they have re-mastered the audio track in 5.1 Dolby Digital Audio? Despite this, I am still very happy to have this in my Blu-ray Collection. Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
