‘Guns of Navarone’ Shooting to 4K Ultra HD Nov. 2 for 60th Anniversary

The 1961 Oscar-lauded war film The Guns of Navarone will come out on 4K Ultra HD Nov. 2 from Sony Pictures Home Entertainment for its 60th anniversary.

In the film, Gregory Peck, David Niven and Anthony Quinn star as a team of Allied military specialists recruited for a dangerous but imperative mission: to infiltrate a Nazi-occupied fortress and disable two long-range field guns so that 2,000 trapped British soldiers may be rescued. Faced with an unforgiving sea voyage, hazardous terrain and the possibility of a traitor among them, the team must overcome the impossible without losing their own lives.

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Adapted by screenwriter Carl Foreman from Alistair MacLean’s best-selling novel, The Guns of Navarone was nominated for seven Oscars, including Best Picture, and won for Best Special Effects (1961).

Update (9/10/21): Date changed from Oct. 12 to Nov. 2.

Roman Holiday

BLU-RAY REVIEW: 

Street Date 9/15/20;
Paramount;
Comedy;
$29.99 Blu-ray;
Not rated.
Stars Gregory Peck, Audrey Hepburn, Eddie Albert, Hartley Power, Harcourt Williams, Margaret Rawlings.

As this new “Paramount Presents” Blu-ray aptly demonstrates, 1953’s Roman Holiday manages to remain as fresh and vibrant as ever while simultaneously serving as a perfect time capsule of the era in which it was made.

In addition to just being a charming romantic comedy with a fun premise, the film managed to embody a number of significant elements of Hollywood history — not the least of which is the first major screen role for Audrey Hepburn, who snagged a Best Actress Oscar at age 24. Noted film critic and historian Leonard Maltin in the bonus materials calls it the greatest cinematic introduction anyone has ever had.

Then there’s the audacious decision by director William Wyler to actually shoot the film on location in Rome, rather than the more conventional practice of re-creating parts of the city on a soundstage in Southern California.

The delightful screenplay was largely the creation of Dalton Trumbo, though almost no one knew it at the time since he was blacklisted and attached his friend Ian McLellan Hunter’s name to it. At the time, the Academy offered separate awards for story and screenplay, unlike the distinct original and adapted screenplay awards offered today, and Hunter ended up as the named nominee for both awards on behalf of the film, sharing screenplay credit with John Dighton. It won for Best Story, an award credited to Hunter for 40 years until the Academy recognized that it was actually Trumbo’s Oscar.

Trumbo finally received an on-screen story credit during the restoration of the film carried out for its 2002 DVD release. The Writers Guild of America finally recognized Trumbo’s co-screenplay credit in 2011, so this new Blu-ray restoration offers the studio’s first chance to reflect that on-screen (the credits now attribute the story solely to Trumbo, with the screenplay by Trumbo, Dighton and Hunter).

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The story involves a young princess (Hepburn) from an unnamed European country who grows tired of being coddled and pampered during a tour of Europe when she can’t actually experience any of the places she’s visiting. So, during the Roman leg of the trip, she sneaks out the royal enclave at bedtime, despite her handlers drugging her to help her sleep. She ends up passing out somewhere in the city, where she is discovered by an American passerby named Joe (Gregory Peck), who ends up letting her sleep it off at his apartment after being unable to find a taxi driver who will take responsibility for her.

Joe turns out to be a journalist assigned to cover a press event with the princess the next day, but ends up oversleeping due to tending to the strange girl in his bed. He leaves her to sleep as he rushes to the office to try to bluff his editor that he conducted the interview, only to be called out by the fact that the event was canceled because the princess was “sick.” Recognizing her picture in the paper as the girl in his apartment, he quickly devises a scheme to sell an exclusive story about the princess to the paper.

When she finally regains her senses, the princess doesn’t admit to her true identity, but ends up unwittingly joining Joe and a photographer buddy (Eddie Albert) for a day of sightseeing around the city, thinking she is evading the royal guards sent to retrieve her when they’re busy chronicling her adventures throughout the city.

The idea of someone with a life of privilege wanting to experience how the other half lives was certainly not a new concept in Trumbo’s day any more than it would be today, but Hepburn’s performance as the princess makes her instantly relatable. Modern audiences accustomed to shows such as “The Crown” will be quite familiar with the responsibilities and expectations placed on royalty. Roman Holiday arrived in theaters not long after the coronation of Queen Elizabeth II, who herself ascended to the throne at age 25, and the film’s timelessness is only aided by the ease in which one can imagine the young queen or her sister, chafing against the constraints of their duties, ending up in an adventure not unlike this one.

Given its simple premise, how it ends, and how Peck and Hepburn made such a winning duo, had it been made in the past 20 years or so Roman Holiday would be practically begging for a sequel. Yet, while there were supposedly attempts to make one, it never happened, though the story has been recycled quite a few times since then.

Paramount’s latest restoration of the film looks great, considering how poorly the film’s original elements were reportedly in — likely a factor of it being shot on location and using local European development houses. The new digital restoration techniques bring out a lot of detail in the black-and-white cinematography, with the only real fuzziness coming from stock footage newsreels the film itself originally used.

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For the film’s Blu-ray debut, Maltin’s seven-minute analysis of the film turns out to be the only new extra produced, though the disc still has plenty to offer, carrying over most of the featurettes from the 2008 DVD release.

These include a 12-minute Hepburn tribute and a half-hour retrospective of her work at Paramount, plus a 12-minute featurette about Trumbo (made years before the biopic with Bryan Cranston), and the nine-minute “Rome With a Princess,” which profiles many of the film’s shooting locations.

The disc also carries over a couple featurettes that are more about Paramount than Roman Holiday — owing that they were intended to be used on many of Paramount’s anniversary releases when produced in 2008. These include a five-minute piece on costumes that appeared in the studio’s films, and a 10-minute rundown of Paramount’s 1950s films.

The Blu-ray also includes previously available theatrical trailers and still galleries.

While the inclusion of most of the previous disc’s extras is a significant step up for the Paramount Presents label, which typically jettisons almost all previous supplements, fans should note there are still some notable omissions from previous Roman Holiday disc treatments, particularly the 2002 DVD.

That disc had a featurette about the restoration of the film that was done at that time, which carried over to the 2008 DVD but is obsolete now given the latest restoration, so its omission is understandable. Strangely, though, there is nothing about the new restoration to replace it.

Other supplements from that 2002 disc that didn’t make it to 2008, and are likewise still omitted, are a half-hour retrospective on the film and a 14-minute profile of costumer Edith Head. However, it seems to be Paramount Presents practice to only carry over supplements that are available in HD, so that might explain why those earlier featurettes didn’t even linger onto the 2008 re-release.

Paramount Restores 1953 Classic ‘Roman Holiday’ for Blu-ray Debut Sept. 15

Paramount Home Entertainment will release the classic 1953 film Roman Holiday for the first time on Blu-ray Disc Sept. 15 as part of the studio’s Paramount Presents line. The film was subjected to an extensive 4K restoration by the studio, which showed off some of the results at an online press event July 15.

In the film, Audrey Hepburn stars as a European princess who escapes her secluded lifestyle and spends an adventure in Rome with an American journalist played by Gregory Peck.

“I don’t know anybody who doesn’t like Roman Holiday. It’s an irresistible movie,” said famed critic and film historian Leonard Maltin. “And unlike some ’50s movies that seem maybe a little heavy handed or maybe a little out of fashion by today’s standards, I think this one still breathes and exudes an air of freshness that is timeless. A lot of that has to do with of course Audrey Hepburn, who is eternally contemporary.”

Maltin said director William Wyler insisted on shooting the film on location in Rome, rather than building sets in Hollywood and matching the footage to pickup shots in the European city.

“Roman Holiday was one of the very first movies done on location,” said Andrea Kalas, SVP of archives at Paramount. “This was not a standard Hollywood thing.”

Both Kalas and Martin speculated that the production’s need to use European labs to process the film for dailies and editing, rather than more frequently used and reliable L.A. labs, might have contributed to problems preserving the film over the years.

The film was digitally restored using a dupe negative and a fine grain element to capture the best possible image. Every frame was reviewed, and the film received extensive clean-up to remove thousands of scratches, bits of dirt and other damage.  The original mono track was remastered and minor anomalies were corrected.

“Unfortunately, the original negative no longer even exists,” Kalas said. “This was a dupe made from the original neg which is what we primarily used, and that original negative was so damaged by that lab, just different standards … so that’s why the work we had to do was so important. Digital technology and restoration have become so nuanced and so specific that we can really make sure that we are doing the best with the material we have. So we’re really pleased with the way it came out.”

Progression of image restoration on a scene from ‘Roman Holiday’

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The film was nominated for 10 Oscars, including Best Picture, and ended up winning Best Actress for Hepburn, in her first major film role, Best Costume Design for a black-and-white movie, and Best Story.

The film’s writing award has been the subject of some revision over the years, which is reflected in the new Blu-ray as well. The new restoration also features one slight alteration from the original theatrical version, in that blacklisted screenwriter Dalton Trumbo receives a full credit for his work on the film.

Trumbo’s story credit was restored in 1992 by the Motion Picture Academy of Arts and Sciences, which in 1993 presented the Oscar with Trumbo’s name on it to his widow. In 2011 the Writers Guild of America awarded Trumbo a proper co-screenplay credit as well, shared with John Dighton, who Paramount hired to touch up the screenplay, and Ian McLellan Hunter, a screenwriting friend of Trumbo who fronted the script for him with the studio to get around the blacklist (it was Hunter who was originally handed the Best Story Oscar).

The new Blu-ray will be the first physical home entertainment release of Roman Holiday to feature both Trumbo’s story and co-screenwriting credits, both on the packaging and in the film itself.

Extras on the Blu-ray include the featurettes “Filmmaker Focus: Leonard Maltin on Roman Holiday,” “Behind the Gates: Costumes,” “Rome With a Princess,” “Audrey Hepburn: The Paramount Years,” “Dalton Trumbo: From A-List to Blacklist” and “Paramount in the ’50s: Remembering Audrey.” Other extras include theatrical trailers, plus photo galleries covering the film and its production, publicity campaign and premiere. The Blu-ray will also include a digital copy of the film.

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Films in the Paramount Presents line are presented in a slipcover with a foldout image of the film’s poster, and an interior spread of key movie moments. Other films available through Paramount Presents include Fatal Attraction, King Creole, To Catch a Thief, Flashdance, Days of Thunder, Pretty In Pink, Airplane! and Ghost.

Designing Woman

BLU-RAY REVIEW:

Available via Warner Archive;
Warner;
Comedy;
$21.99 Blu-ray;
Not rated.
Stars Gregory Peck, Lauren Bacall, Dolores Gray, Mickey Shaughnessy.

Directed to the hilt with his own designer’s eye by Vincente Minnelli and boasting an Oscar-winning story and screenplay by George Wells, 1957’s Designing Woman was supposed to be a James Stewart-Grace Kelly reunion pic, post-Rear Window, before it evolved into something else entirely following the stars’ departure from the project. Of all things, we’re talking a cosmetically gorgeous old-school romantic comedy that showed off — and for just about the only time — Gregory Peck’s gifts as a farceur, or, if you wish, flawless straight man to incessantly farcical goings-on.

For that matter, Designing Woman’s replacement co-star Lauren Bacall (brought in on after Kelly elected to marry that Prince guy, causing Stewart to bolt) had a surprise in store herself when she turned out to be funny as well. Adding to her challenge is Woman’s historical status as the picture Bacall was making when Humphrey Bogart was in his final months of dying painfully of cancer — which meant that, speaking just professionally, Bogart and Bacall never got to shoot a planned comedy that eventually became 1957’s Top Secret Affair. In that case, the roles were taken over by Kirk Douglas and Susan Hayward — two actors who then proved they couldn’t do farce, in case you think it’s all that easy.

Back to Minnelli-Wells. Somehow, at age 10, I more or less fell into seeing what was an unlikely-sounding pleasure for a kid who loved rock-’n’-roll, baseball and reading biographies about hoods during what was termed my “Johnny Stompanato era” by one or two at the time. But as it turned out, I loved the picture (and actually, there is a teeny bit of baseball plus a whole of shebang of hoods here — and besides, I’d liked Funny Face as well a couple months earlier). I even got my parents to take me to see Woman again the following summer at a drive-in (and in a double bill with Witness for the Prosecution, talk about a daily double).

Thus, it’s a longtime favorite — far more than, say, Father of the Bride as a Minnelli comedy (which looks drab and speedily knocked off by comparison) and to the Tracy-Hepburn team launcher Woman of the Year, which it resembles in a few respects. No non-European filmmaker could fill a CinemaScope frame with color-coordinated costuming the way Minnelli could, which has a little to do with why there are so many laughs here but everything to do with why every shot is a visual delight. Remember how sprightly and pigment-drenched the opening and also the “Drop That Name” number look in Minnelli’s underrated movie of Bells Are Ringing? This is the way Woman looks most of the time as Minnelli is always going the extra mile to punctuate a funny script with visual whip-cracks that romance the eye.

Peck is a New York sportswriter who marries a well-connected NYC fashion designer following a whirlwind courtship without realizing just what she does for a living. As a result, he and his poker-playing newshound cronies are forced to share their weekly apartment game (when it’s his turn to host) with an effete theater crowd from another planet once Bacall begins inviting them over. This occurs because she’s been hired to design duds for a Broadway show — one, turns out, in which Peck’s former squeeze (Dolores Gray) has been hired to star under the tutelage of a dance director (played by maestro choreographer Jack Cole) who gets on Peck’s nerves. Without engaging in spoilers, he comes in handy.

Adding to the stress is Peck’s targeting of a crooked fight promoter (Edward Platt, from Rebel Without a Cause and TV’s “Get Smart”) in a series of articles that results in Platt sending a few of the “boys” (one played by Chuck Connors) to the apartment for a dose of persuasion. This results in Peck’s being assigned a hopelessly punch-drunk boxer with unusually odd peccadilloes to be his bodyguard, and Mickey Shaughnessy is so uproarious in what is now probably a politically incorrect role that it was basically “1957” that enabled the actor to sustain his career. Contributing to this run were Shaughnessy’s turns in the Naval comedy Don’t Go Near the Water (perhaps understandably forgotten as having been a huge box office hit at the time) and as the cellmate who teaches Elvis his guitar basics in Jailhouse Rock. Cast as country singer “Hunk” Houghton, it is, in fact, Shaughnessy who first strums the C-chord for the initially green once and future King — pronouncing it, more or less in cathedral tines, as “a big one.”

Though the limitations of MGM’s Metrocolor can sometimes compromise the success of Warner’s admirably exacting Blu-ray standards, Designing Woman looks exceptionally good for its source and visage — presumably due to a combo of the negative’s overall health and Minnelli’s painstaking orchestration of color in the first place. I can remember even as a kid noting in my mind how sickening ravioli remnants looked (and still do) in one beautifully staged set piece, but I don’t want to spoil the gag. Other than to say that Peck plays the scene perfectly — and this coming directly after Moby Dick, an ambitious and not unimpressive movie where he nearly lost an acting leg from critics’ harpoons. The quality of his performance in that John Huston opus is at least debatable, but in Woman, he’s perfect. In terms of this kind of movie — my favorite Pecks are Twelve O’Clock High and The Gunfighter — I didn’t know he had it in him.

Mike’s Picks: ‘Designing Woman’ and ‘My Sister Eileen’