NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: Indicator Blu-ray (June 2025): Indicator has transferred Simon Hesera's A Day at the Beach to Blu-ray. It is cited as a "New restoration from a 4K scan of the original negative by Powerhouse Films - Two presentations of the film: the original cut, newly restored (82 mins); and the extended version, presented from a Standard Definition master (84 mins)". Eric reviewed the vastly inferior Code Red DVD back in 2008, HERE. We've added some captures below.

The visual aesthetic of A Day at the Beach is defined by its oppressive, rain-soaked setting and a stark contrast between the bleak environment and fleeting moments of color and life. Shot in 1969 on location in a Danish seaside resort, the film captures a relentlessly dreary atmosphere with overcast skies and constant drizzle dominating nearly every frame. The film’s lighting is predominantly natural with the gray diffused light of an overcast Danish coast casting a pall over the scenes. This creates a muted color palette of grays, browns, and blues, particularly in outdoor shots of the beach, seafront, tablecloth, and surrounding streets. The cinematography is not without flaws. The relentless rain posed significant challenges during production, likely contributing to the film’s uneven visual flow. Some scenes feel disjointed with abrupt transitions that disrupt the narrative rhythm. The original cut (82 minutes) benefits from this Blu-ray restoration, offering superior detail, enhanced contrast, filmic textures, and a refined color palette that preserves the film’s dreary, rain-soaked aesthetic while highlighting occasional vivid hues, such as beach toys or shop displays. The extended version (84 minutes), sourced from a Standard Definition master, is noticeably softer and less detailed, serving as a comparative curiosity rather than a primary viewing option. The past Code Red DVD is really no comparison. This 1.75:1 HD presentation elevates the visual experience, making the bleak Danish resort both immersive and haunting.

NOTE: We have added 40 more large resolution Blu-ray captures (in lossless PNG format) for DVDBeaver Patrons HERE.

On their Blu-ray, Indicator uses a linear PCM mono track (24-bit) in the original English language for both cuts. Mort Shuman’s (also known as an actor - see The Little Girl Who Lives Down the Lane) sparse, melancholic score (his first film composition) with its piano and string arrangements is rendered with subtle clarity, complementing the film’s somber tone without overpowering it.  Where Are We Going (by Kenny Lynch and Shuman,) Cocktails for Two (by Arthur Johnston and Sam Coslow,) Alfie's Theme (by Sonny Rollins,) and Soul Limbo (by Booker T. Jones et al) are included. Naturalistic sound effects (such as the constant patter of rain, crashing waves, and ambient pub noises) are crisp, enhancing the oppressive atmosphere. Some dialogue, however, suffers from the “dead” quality of studio post-dubbing, a limitation of the original production due to the rainy location shoot. The audio presentation of A Day at the Beach is faithful to the film’s modest origins, delivering a functional, if not spectacular, experience. It's all we can ask. Indicator offers optional English (SDH) subtitles for both cuts on their Region FREE Blu-ray.

The Indicator Blu-ray offers no commentary but is packed with substantial extras that enrich the film’s context. Fiona Lewis: A Country Girl runs 6 minutes and offers a brief but insightful interview with the actress reflecting on her role and the production. Dancing Before the Enemy: How a Teenage Boy Fooled the Nazis and Lived is a 2015 feature-length documentary by Adam Bardach that chronicles producer Gene Gutowski’s remarkable WWII experiences as a Jewish teenager in Poland, providing a compelling historical backdrop to his work with Polanski. The Word of an Alcoholic delivers an analytical 1/4-hour video essay exploring the film’s depiction of alcoholism, adding critical depth by Michael Brooke. Behind the Camera: Gil Taylor is an archival, dozen-minute documentary from 1993 by Richard Blanshard that features interviews with cinematographer Gilbert Taylor (The Omen, Frenzy, 1979's Dracula,) Roman Polanski (Repulsion, The Tenant, Rosemary's Baby,) and Anthony Minghella (The English Patient, Truly Madly Deeply, The Talented Mr. Ripley, Cold Mountain,) celebrating Taylor’s legacy. The limited edition exclusive booklet (with a new essay by Michał Oleszczyk - The Bitterness of Exile: The Cinema of Terence Davies, trade journal reports, Simon Hesera interviews from the 1993 re-release, critical responses, and full credits) is a collector’s delight, offering scholarly and archival insights. These extras make the release a definitive package for fans and scholars.

Simon Hesera's A Day at the Beach is a British-Danish co-production that follows Bernie (Mark Burns), a self-destructive alcoholic, as he takes his young niece Winnie (Beatie Edney), who may be his daughter, on a day trip to a desolate Danish seaside resort. Set against a backdrop of incessant rain, the film portrays Bernie’s descent into drunkenness, his interactions with various characters, and Winnie’s increasing vulnerability as she is left to fend for herself. The screenplay (penned by Roman Polanski) was originally intended for him to direct, but due to personal circumstances (most notably the murder of his wife, Sharon Tate, in 1969,) he handed the directorial reins to Simon Hesera, a first-time feature filmmaker.

Michael Brooke in our FB informs us: "Just to scotch that particular myth before it gets amplified yet again, this was never, ever intended as a directing project for Polanski.
He adapted Heere Heeresma's novel as a favour for his close friends Gene Gutowski and Simon Hesera (a successful commercials director who wanted to transition to features), but aside from Polanski initially being present on the set because he fancied a trip to Copenhagen that he could presumably bill to the production, that was that.
And the film was already well into production when the Manson murders happened - and because Polanski was only the screenwriter he was free to fly back to California without disrupting the shoot."

The film features a cameo by Peter Sellers as a flamboyant gay shopkeeper, credited as “A. Queen.” Never released theatrically upon completion, it was lost for two decades due to a paperwork error at Paramount’s London vaults, only resurfacing in 1993 for limited festival screenings, which contributes to its cult status and mystique among cinephiles. The film’s central theme is the devastating impact of alcoholism, portrayed through Bernie’s relentless pursuit of alcohol at the expense of his responsibilities and relationships. Unlike romanticized depictions of drunks, Bernie is neither charming nor redeemable. His behavior oscillates between manipulative, bullying, and pathetic. A Day at the Beach’s lack of a clear moral or narrative purpose contributes to its nihilistic outlook. Unlike Polanski’s earlier works, like Knife in the Water or Cul-de-Sac that balance dark themes with stylistic flair, the film offers no catharsis or insight. The Indicator Blu-ray of A Day at the Beach is a triumph of preservation rescuing an obscure Polanski-penned gem from oblivion with a greatly improved 4K restoration of the original cut, despite the extended version’s lesser quality. The extras are excellent, blending personal, historical, and critical perspectives that elevate the film’s significance with the Gutowski documentary and detailed booklet being particular highlights. For fans of Polanski or 1970s British cinema, this limited edition is highly recommended, offering a visually and intellectually rewarding experience that honors the film’s haunting nihilism and cult status. Indicator’s commitment to quality makes this release a benchmark for rediscovered classics. Absolutely recommended!

Gary Tooze