ACCESS REVIEW PAGE ONE or PAGE THREE.

Two years ago we had Ford at Fox - the gargantuan for 2007 and winner of DVD of the Year - then last year we were given the 2008 DVD of the Year - Murnau, Borazge & Fox. 2009 sees the reigns pass to Criterion for an end-of-year digital behemoth. The most remarkable distributor have their favorite - Akira Kurosawa with whom they have covered by far the most releases of any director in their impressive collection. His work is now honored with a magnificent 25 film boxset. 'Wow' is right.

The 25 main features of this boxset are housed in individual unfastened flap book-style cardboard cases inside a beautiful linen-bound box with an Illustrated hard cover book (see images below). These are advertised as 'all new transfers'.

Very encouragingly, NONE of the transfers are pictureboxed (see our full description of 'pictureboxing' in our Kind Hearts and Coronets review). Each are coded for Region 1 in the NTSC standard. The transfers are all progressive and in the original aspect ratios. There are no digital supplements and each finish the last chapter with color bars. Audio is monaural, 2.0 channel stereo or in the case of High and Low 4.0 channel Perspecta Surround. Unless otherwise noted (ex. Kagemusha) each disc starts with a wonderful animated 'AK 100' logo followed by the animated Criterion and static Janus logos.

NOTE: In comparing running times - most from this boxset seem about 20 seconds shy of the original release times. While all use the NTSC standard, the logos are running in their own separate file outside the 'clock' of the film time - where as on the original DVD they may include the logos. This is noted in the bitrate graph drop down window where we can see a separate 19 or 20 second time period - these represent the AK 100, Criterion and Janus logos which run prior, and separately authored, to the feature film.

So, while new transfers - some look very similar to previous Criterion or Eclipse boxset releases - however, quite a few are different and may also be from alternate sources. We aren't privy to the details of the availability of prints used by Criterion as sources but can make good guesses if it was the same as the original releases by comparing captures and noting damage marks, framing and other details. To get exact screen capture matches - we move ahead one frame at a time looking for the same position of people, hands or other things that move OR we can also look for the same speckles and/or scratches. This will show if possibly the same source was used and more closely identify if it is a similar, or how similar the appearance is.

Public perception has altered quite a bit in the past few years and I believe this is a real positive. This is true for a few companies, like Criterion, who are aware of what their following are desirous of - and what they dislike in terms of transfers. I am referring to digital manipulation (also called 'restoration') where selective contrast adjustment can help remove the prevalence of damage marks and hopefully bring the film closer to its theatrical intent. This is the same thing that occurs with black level or color boosting - trying to increase sharpness or vibrancy of an older, faded print. Consumers at this high-end of film appreciation have become more aware of these visible alternations that leave telltale deficiencies ex.; brightness that limits scratches and damage marks may also removes detail from parts of the frame, like edge-enhancement from black level boosting, moiring and other unsavory artifacts.  Okay - so what I am suggesting is that most of these transfers seem devoid of digital tinkering to alter the perception toward the theatrical appearance. They seem very 'pure'. What that might mean is more grain, and more damage but a truer look and for those that inspect that closely a more film-like presentation on DVD or Blu-ray.

As one example - this may be true for a title in this collection like Rashomon. While it may not be a different print - it may have had less in the way of digitally covering-up of damage BUT grain visibility improves and it tends to look more textured akin to real film. This may also be true because the discs do not share the feature transfer with supplements - this can increase the bitrate for the feature. This is what many fans desire in the current climate of home theater expansion. Personally, I am less concerned with light damage than I am with obvious manipulation. From my inspection so far - I'd say these are less manipulated than some of the original releases.

The important releases for many are the ones new to Criterion - Sanshiro Sugata (1943), The Most Beautiful (1944), Sanshiro Sugata Part Two (1945), The Men Who Tread on the Tiger's Tail (1945) and Madadayo (1993). I suspect they are all the best DVD transfers of each of these 5 films in the entire world. I was especially keen to see Madadayo as it is one of my favorite Kurosawa works.

Also, Drunken Angel (1948), Seven Samurai (1954) and Dodes’ka-den (1970) are NOT pictureboxed as they were in their latest, or original Criterion release. This can be quite consequential for some individuals.

NOTE: We have one important issue with our Kagemusha comparison. We occasionally accept screen captures from individuals who are trying to support us and lighten our workload. We try our best to ensure that these utilize the same method as we have obtained in the past, for consistency, - BUT occasionally things slip by. Jacek Macias screen grabs from 2005, look to me, now, to have been set at a boosted setting ('Vivid' as opposed to 'Original'). We are attempting to verify this but our conclusions regarding the comparison from the AK100 colors to the Blu-ray are still very valid. Kagemusha on DVD in this boxset looks great.