Blu-ray 2 is dual-layered (30,598,023,740 bytes) with a max'ed out bitrate (35 Mbps) and only has the John M. Stahl's 1935 version of Magnificent Obsession in 1080P with the minor damage (mostly frame specific) remaining. But it looks much more film-like in the higher resolution, hampered only by the source condition.

The Criterion Blu-ray package is the definitive version of this Sirk romantic masterpiece. ZThe commentary adds value as do the other supplements and the 1935 version in HD. A very easy upgrade for the director's fan base. Just magnificent.

ADDITION: Elephant Films - Region FREE- Blu-ray - May 17': Just like Written on the Wind, the Elephant Films 1080p transfer looks highly pleasing - even single-layered with a modest bitrate. It is marginally brighter than the SD transfers, detail rises and contrast has more distinct layers. Skin tones warm - colors look more realistic and there is now depth apparent. It is also maintaining the correct 2.0:1 aspect ratio and you can see what has been added or missed on the carlotta Sirk Box DVD.

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ADDITION: Thanks to Jason for sending us 4 Carlotta captures (1.33) - added below - from Sirk Vol. 1 (Imitation of Life, Magnificent Obsession, All that Heaven Allows and A Time to Love and a Time to Die) available HERE.

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ADDITION Universal (UK): Per Olof has shot us over captures of the single-layered (4.1 Gig), bare-bones, Universal UK edition and says - "They seem fairly similar but the Universal is a shade softer has color bleeding, also the image has a tendency to be unstable". Thanks Per-Olof!

NOTE: Some are not exact frame matches!

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There was quite a debate about the aspect ratio of Sirk's Magnificent Obsession at the Criterion Forum HERE. The discussion centering on how the film was shot (by Metty/Sirk) to how it was shown theatrically ('superscope' - 2.0:1.) We've seen this debate before with films on the cusp of the widescreen revolution (mid 50's). I believe some of these films were exhibited at different AR's depending on the time they were released - or even if the individual theater had been 'updated' or 'retrofitted' for widescreen. Unlike other, later, Sirk widescreen films this has no credit for 'superscope' on the Criterion presentation credits (that I saw.) It is quite probable that this is one of the many transitional anomalies of cinema in that it was composed for full negative but presented in widescreen. As DVDBeaver ListServ member David Hare states '50s ratios are one of the biggest minefields in American film history.'

Personally 2.0:1 does not look 'off' to me but I can see much of the earlier part of the film fitting quite easily in a 1.33:1 frame. I appreciate the widescreen while mise en scene seems quite appropriate - even if it was potentially 'retroactive'.

It is anamorphic and looks very good showing grain and free of damage and blemishes. I imagine there may have been some digital restoration but colors, in a relatively soft pallet while hinting at exuberance of color, and detail are exceptional. For SD-DVD I imagine this is the best this film will ever look. Douglas Sirk fans can hope for Blu-ray one day - I'm sure it would bring out even more of the grain and while raising the overall resolution.

Typical for Criterion - the audio is in original mono with optional English subtitles (sample below.)

Extras on the Criterion include a very professional commentary by film scholar Thomas Doherty. He covers a lot of ground in a very matter-of-fact, but also relaxed, tone. I'd like to hear more from him in the future - he appears to either have extensively researched, or already knows his stuff. Also on disc one are two Fiction Factory (Robert Fischer) tribute pieces from Alison Anders and Kathryn Bigelow- both longtime Sirk fans - shot in California in 2008. These are both available in the excellent Sirk 2 Boxset from Carlotta with - All I Desire (1953), There's Always Tomorrow (1956), Interlude (1957) and The Tarnished Angels (1958) reviewed HERE. There is also a theatrical trailer (2:25)

NOTE: As Robert tells us in email, we have done a slight injustice to the Criterion: "Please allow one small clarification: "A Tribute to Douglas Sirk by Allison Anders" on the Criterion disc is NOT identical to "Perspectives on the American Family: Allison Anders on Douglas Sirk's There's Always Tomorrow" in the Carlotta box. In fact, the Criterion piece, while being much shorter, was edited especially for this edition, and in it, Allison briefly but exclusively discusses MAGNIFICENT OBSESSION."

Disc 2 has the John M. Stahl's 1935 version of Magnificent Obsession looking pretty sweet with some very minor damage (mostly frame specific) but relatively clean and smooth (see caps below) - excellent contrast. We are also treated to From UFA to Hollywood: Douglas Sirk Remembers (1991, 82 minutes), a rare documentary by German filmmaker Eckhart Schmidt in which Sirk reflects upon his career with optional English subtitles. This is wonderful for Sirk fans.

Just incredible release from Criterion - a triumphant masterpiece presented to us in an impeccable boxset worthy of any film lover. Intensely recommended! 

Gary W. Tooze