Reviewed by Glenn Erickson
Savant reviewed the earlier 'normal' Columbia Tristar disc of
From Here to Eternity in November of 2001,
so that's where to go for my discussion of the merits of this classic Oscar-winner. This review will be a short
rundown of my reactions to the promised higher quality of this Superbit edition - from
Savant's commonsense, non-tech POV. (Read: finicky personal opinion.)
This is the first opportunity I've had to really compare a Superbit release with its garden-variety
predecessor. I've heard that it's hard to tell the difference between them, but I didn't find that
to be the case with my 65" rear projection Mitsubishi screen. Both images had grain, but the
Superbit disc exhibited both a subtler range of tones and better definition of shapes. Terminator lines between light and
dark areas were free of haloes or 'outline' fringing. On a big screen, the picture does look
substantially sharper all
Grumblers about the Superbit concept say that top bit rates and processing should be the standard,
and that this amounts to double-dipping. Maybe they have a point, but there are an awful lot of
discs that could use a new edition, either for lack of 16:9 enhancement, flipper-formatting, or
lacklustre transfers. I'm thinking of titles like The Wild Bunch, The Right Stuff ...
The naysayers also have a potential point when they gripe that the movie experience is the same with
either disc. This is rather obvious, considering that most of us first appreciated pictures like
Casablanca in dirty 16mm prints shown on old televisions. But sharper and more detailed
is sharper and more detailed, nothing more or less. The Superbit concept may mean 'less for more'
for some people, but anything that
offers more choice and better quality, even just the margin of improvement shown here, is
going to get my vote. It's equally as valid as re-buying Army of Darkness or Lord of the
Rings for a second or third time, just to enjoy a different set of extras.
For awhile, I was hoping that Columbia would reformat the picture in 1:66 16:9, to show it in the
aspect ratio of its Widescreen reissue in 1954. The main titles are certainly grouped for such a
and play perfectly well matted on a widescreen monitor. But From Here to Eternity comes
from a year of format transition, 1953, Half of that year's releases were flat (War of the
Worlds) and the other half followed the new cropping to 1:66 trend (Kiss Me Kate,
It Came from Outer Space). To me,
most of the picture still looks better at the normal 1:37 setting.
The plainwrap disc reproduces all the chapter stops of the earlier disc, but has none of its extras.
The attractive silver packaging uses a smaller reproduction of the same DVD cover. If this is a top
title for you, I'd recommend it, provided you're watching on a large or finely tune-able monitor.
On a scale of Excellent, Good, Fair, and Poor,
From Here to Eternity - Superbit rates:
Packaging: Keep case
Reviewed: March 6, 2003
DVD Savant Text © Copyright 2003 Glenn Erickson
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