Stream Hour of the Wolf Online
Mardi, mai 11th, 2010 |
Stream Hour of the Wolf Online.
Movie Title: Hour of the Wolf Hour of the Wolf is available for streaming or downloading. |
My rating refers to the movie - not the DVD.
Had I rated this product 1 star (which would be a reliable rating for the DVD,) I’d be sending the message that this isn’t a friendly movie…5 stars for Bergman’s work.
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MGM’s WAR OF OAR:
A lot of word has spread about MGM’s DVD releases of this film and Bergman’s “Shame” being presented in the wicked aspect ratios.
Here are the facts and my personal experience with this mess:
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The novel aspect ratio (OAR) of this movie and “Shame” is 1.37:1 (this has been confirmed by Svenska Filminstitutet,) i.e. almost rotund mask on a “normal” TV, but not quite; there should be BARELY NOTICEABLE shadowy bars both above and below the describe.
However, in February 2004 MGM released a boxed dwelling including five Bergman titles, where the two earlier mentioned films were presented in aspect ratio 1.66:1.
“How can you change the OAR? ” you might ask. In this case the acknowledge is simple: by matting the recount. MGM had placed very thick unlit bars on the top and bottom of the describe throughout the movie, resulting in a wider looking format, but causing 11.5% of the image to be blocked out. Through this link you can read all about it, and compare serene images from these films to how they gaze on the DVD, and how they should look:
http://207.136.67.23/film/DVDCompare2/mgm.htm
Naturally this flub upset people, and eventually MGM had to admit their wrongdoing and withdraw these two DVD’s from the market.
This is the statement that MGM Home Entertainment made regarding the pick of the INGMAR BERGMAN COLLECTION:
“It has advance to our attention that the transfers utilized for the release of Ingmar Bergman’s “Hour of the Wolf” Special Edition DVD and “Shame” Special Edition DVD are not representative of the intended theatrical presentation.
In order to provide customers with the best quality product available, we are recalling the product at retail and will be releasing both films in a 1:37:1 aspect ratio on April 20, 2004.
The Ingmar Bergman DVD Collection will also be available on that date. MGM Home Entertainment always strives to provide the highest standard of product and customer care. For additional information or comments, please contact our customer service.”
Reading this statement a year ago made me ecstatic that I hadn’t ordered or bought the boxed situation or any separate discs thereof. The DVD’s were now going to be withdrawn from the market and later re-released in the OAR…dazzling.
However, when these discs were re-released on April 20th 2004 they were presented in 1.33:1, NOT in the OAR 1.37:1, as MGM had promised.
I waited some months thinking that maybe some other studio (like Criterion) would release these movies in the OAR. Nothing happened, and naturally MGM wasn’t going to admit a second mistake, so since I hadn’t seen these movies, but had heard and read safe things and was therefore tantalizing, I ordered MGM’s 1.33:1 versions of both “Shame” and “Hour of the Wolf” from amazon.com in the early descend of 2004.
When the discs arrived “Shame” was slightly matted fair as I’d expected (1.33:1,) but I got the 1.66:1 version of “Hour of the Wolf” even though I’d contacted amazon.com’s costumer service in come to get certain that I would NOT fetch the edition that was supposed to have been taken off the market 6 months ago by then.
I complained to amazon.com, and instead of sending me the edition I wanted they gave me a refund - better than nothing, but they couldn’t convey me how to gather a gain of the 1.33:1 edition of “Hour of the Wolf,” so neither can I.
Just be aware - there is no such thing as a widescreen edition of this film, even though the more expensive edition of the two MGM DVD’s available on amazon.com suggests so.
Ok, that about that. Some may suggest that this kind of technical mumbo-jumbo is not bright and certainly not critical when reviewing a movie, but whether you claim you care or not, watching 88.5% of the image of a movie WILL (consciously or subconsciously) execute your judgement of the film, because things are happening unhurried those thick murky bars. Not presenting Sven Nykvist’s camera art as he and the director intended it is quite disrespectful towards both the artist and the audience.
…my suggestion is to Gain Clear you fetch the 1.33:1 edition of the(se) film(s,) or wait until someone releases them in OAR 1.37:1.
DVD FEATURES:
There is a 26 small “featurette” featuring short interviews (shot in 2002) with actors Liv Ullmann and Erland Josephson, Ingmar Bergman biographer Marc Gervais, and short footage from an approximately 35 year old-fashioned interview with Ingmar Bergman. There’s no behind-the scenes footage or outtakes featured in the so called documentary; a lot of it is objective repeated on-camera quotes, composed pictures and a mountainous amount of clips from the film, slice together at MGM studios. Nothing worth celebrating, though it’s viewable - they could easily have carve it down to less than 10 minutes, thus made it more intense, while collected as entertaining.
Marc Gervais’ comments and commentary is not very insightful or based on a lot of facts around the production of the movie - he merely suggests his occupy interpretations of what Bergman was trying to command based on his occupy theories, which aren’t very inviting, and which don’t always perform sense in comparison to Bergman’s autobiographical suggestions. Frankly, if I may be a tad harsh, I’d be as involved in listening to George W. Bush’s analysis of this represent as Mr. Gervais’.
Criterion’s Bergman Biographer, Peter Cowie, who has met the director several times, usually provides remarkable more gripping commentary.
Other features on this disc (at least the matted edition) include English, French and Spanish Language subtitles, a photo gallery, and a theatrical trailer.
THE MOVIE:
“Vargtimmen,” which is the Swedish (new) title of “The Hour of the Wolf” is a shaded and white production from 1968, written and made in Swedish by director Ingmar Bergman. It is one of Bergman’s most “mystical” films, and of all his work, “Hour of the Wolf” suites best in the genre of “panic,” though it isn’t a pure apprehension flick from beginning to kill - at least not in any typical sense.
The two main characters are played by Max von Sydow (as Johan Borg) and Liv Ullmann (as Johan’s pregnant wife Alma.) During most of the shooting of this film–which incidentally (as many other films since “Såsom i en spegel” a.k.a. “Through a Glass Darkly”) took station on Bergman’s station Fårö–Liv Ullmann was in fact pregnant, at the time carrying her and the director’s child Linn.
Basically (bluntly, or on the surface) the film tells the chronicle of a sleepless artist with an unhealthy upbringing, who is trying to fight off haunting demons. One may theorize these demons partly as a portrayal of critics towards the artist.
Bergman has never explained exactly why distinct things acquire positive actions in his films. Usually he doesn’t even discuss the scripts with the actors. Partly for this reason, has he never been enthusiastic in recording audio commentary for his films on DVD, nor do I possess there is reason for him to do so, because his films are his creations - his art. There is no apparent reason to me why anyone should try to “figure these movies out” and fabricate official theories and statements of what exactly they are trying to issue you, because sometimes they might not even be trying to shriek you anything. This beget of art, like other forms of art, should (as they do) leave you place for a personal interpretation.
Most of the cast (with exceptions like Naima Wifstrand) were, at the time, basically objective stage actors - a fact that certainly effects the intense outcome of all characters featured in the movie and makes it special.
The music in several scenes of this film (such as when Johan Borg, on a fishing travel, is bothered by a demon in the invent of a child) is very intense, effective and skilfully applied to the relate.
This is a work of art that a correct fan of Ingmar Bergman’s filmmaking must not miss.
A illustrious painter, Johan (Max von Sydow), and his wife (Liv Ullmann) near on a little island where Johan plans to recollect his thoughts and salvage himself in his painting. He suffers from insomnia and terrible nerves, and his nights are spent waiting in anxiety for the magical hour before dawn, the hour of the wolf, when a flood of memories, anxieties, and regrets transcend thoughts and appear as demonic apparitions which threaten to capture him. Johan’s wife, Alma, must relieve him overcome his unsafe obsessions with his ghosts before the manifestations become too staunch, and its too slack…
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The Magician and Hour of the Wolf are my two celebrated Bergman movies — the reason being the flaws of these films only do them stronger by serving the point. In the Magician its an artist’s fright of having his cheap trickery exposed for what it is, and his inability to gain “pure” art. The fact that Bergman had to sell the film as an “erotic comedy” with a humorous subplot doesn’t accomplish the film weaker: it unbiased reinforces it with irony.
In the same blueprint, the Hour of the Wolf was clearly made by a nervous and overworked artist: at this point the critics were out for blood with Bergman, ready to bid his career over and his movies indulgent exercises in his common image. Bergman himself was having a rough time, with a theatre and a film career exhausting him and his marriage falling to pieces. But for Hour of the Wolf, any resignation, nervousness, or indulgence merely serves to strengthen the film’s message. Hour of the Wolf is a desperate film, and because of that, I believe its in this film that Bergman comes closest to his gain artistic vision: That site where dreams, memories, and anxieties advance together and become indistinguishible (something he would have a harder time conveying in films like Face to Face) .
The film is beautifully made, with Sven Nykvist collaborating as usual. Bergman and his cohort were cutting halt to perfect in craft around this period. The flood of images is overwhelming. Some approved scenes: Johan struggling with a microscopic boy while fishing, the dinner party (the pressure!), and of course, the renowned “Magic Flute” scene, with the miniature puppet curious almost imperceptibly as a sincere man. And that prevalent Bergman talking point, Mozart, and the chorus’ breathless chanting: “Pamin-na peaceful lives.” (lit. “Fancy aloof lives”)
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An emotional and personal film, one of his best.
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