American Cinematographer - December 2004 - 20

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minor differences between it and the
of Switzerland

release version include

BOLEX SUPER 16
prices for the conversion of your
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The Hitchcocks on Hitch is an
unusually sentimental but engaging 11minute piece filled with rare homemovie footage of Hitchcock, introduced
by his daughter and granddaughters.
Finally, An Appreciation by M. Night
Shyamalan offers a needless 13-minute
recap of the film in which the popular
director narrates clips and makes fairly
obvious points.
an

Strangers on

sharp new transfer and
substantial (though occasionally redun¬
dant) supplemental features, this afford¬
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worthy treatment, and is an asset to any
Train. With

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three and sometimes

as many as seven
frames within the frame, a device

greeted with much greater fanfare
appeared in the Academy
Award-winning Woodstock a year later.
In addition to the split screens, tactile
when it

sound effects, shock edits, snap zooms
and

long takes add to the film's power¬
fully unsettling atmosphere.
The stylized approach is paired
with a deadly serious storytelling tone
the film is almost completely devoid
of both music and humor
creating a
tense intersection of documentary and
police narrative. As lead investigator
John Bottomly (Henry Fonda) finally
delves into the mind of suspect Albert
DeSalvo (Tony Curtis, in a career-best
performance), the film begins to blur the
line between reality and subjectivity;
Fonda is seen talking to DeSalvo inside
his memories, an innovative idea that
inspired director Spike Lee in his own

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an

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Strangler, presenting Kline's

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early 1960s
by committing 13 seemingly random
murders. Fleischer and cinematogra¬
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2.35:1 (16x9

Strangler (1968)
Enhanced)
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stylistic approach

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Given a free hand by forwardthinking 20th Century Fox production

audio-commentary participants, with
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what is said on the commentary track.
The Victim's PO. V is an amusing, sevenminute piece about shooting the murder

a

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influential.

to

excellent job of remounting

Kit includes all parts

more

chief Richard Zanuck, director Richard

Warner Home Video has done

truck

picture. Made just before an
raw filmmaking talent over¬
took the staid studio system in the
1970s, the film is just as daring and
uncompromising as the best of the
following decade, and possibly even
a

The 36-minute Strangers on a
Train: A Hitchcock Classic features the

sequence.

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Guy and Bruno, and the glaring
elimination of the comic "tag" scene

infusion of

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footage that was included on the previ¬
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covery. The brilliant but curiously
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homoerotic tone in the initial encounter

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16/Super16
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Also

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shooting a film that
bounced back and forth between gritty,

One of the great benefits of the
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documentary-flavored

fresh

DeSalvo's cloudy, delusional mind-

light

on

films deserving of redis¬

realism

and
American Cinematographer - December 2004

Table of Contents for the Digital Edition of American Cinematographer - December 2004
