More
- Preamp, Processor or Receiver
- Yamaha TRS-7850 Atmos Receiver
- Other Amp
- Peavy IPR 3000 for subs
- Universal / Blu-ray / CD Player
- Panasonic UB820 4K UHD Player
- Front Speakers
- Cheap Thrills Mains
- Center Channel Speaker
- Cheap Thrills Center
- Surround Speakers
- Volt 10 Surrounds
- Surround Back Speakers
- Volt 10 Rear Surrounds
- Rear Height Speakers
- Volt 6 Overheads
- Subwoofers
- 2x Marty subs (full size with SI 18's)
- Video Display Device
- Sony 85 inch X950H FALD TV
Audrey Hepburn: 7 Movie Collection
Movie:
4K Video:
Audio:
Extras:
Final Score:
WARNING: THE SCORES ABOVE ARE A COMBINED SCORE FROM ALL SEVEN FILMS, THE INDIVIDUAL SCORES ARE CONTAINED BELOW IN THE INDIVIDUAL SECTIONS OF THE REVIEW
Movie:
4K Video:
Audio:
Extras:
Final Score:
WARNING: THE SCORES ABOVE ARE A COMBINED SCORE FROM ALL SEVEN FILMS, THE INDIVIDUAL SCORES ARE CONTAINED BELOW IN THE INDIVIDUAL SECTIONS OF THE REVIEW
Audrey Hepburn has always held a kind of magic for me. She’s one of the classic actresses that tended to play herself in all her roles, but since I love the person she was, I find nothing to criticize. She always had a disarming charm that made me wish I could be like her. In movies like Sabrina and Breakfast at Tiffany’s and Charade, she possessed a delightful confidence and unassuming candidness rarely seen in contemporary films. She was one of Hollywood's biggest stars, and also suffered some of their worst tragedies (her autobiography chronicled a whole host of them) and is still seen as one of cinema's biggest darlings. Paramount re-releases many of her previous films (3 of which were released in a previous set by Warner for Paramount, and most of the rest as singles in some way or another). HOWEVER, this set does finally bring a single lone title to the batch that is not released anywhere else on Blu-ray in the form of Paris When it Sizzles. Something which means that die hard fans may have to double dip just to get that title
Sabrina
Sabrina is the story of a chauffeur’s daughter (Audrey Hepburn) obsessed with the youngest son of her father’s employer. She gets shipped off to a quality cooking school in Paris, where her father hopes she will not only learn skills to help her gain employment, but also that she will get over David Larabee (William Holden), a notorious playboy. Sabrina, however, returns a transformed creature. No longer awkward and girlish, she steals David’s heart with her sophistication and charm, right out from under his workaholic brother’s nose. Afraid that his plans to marry off David to seal a twenty million dollar merger will go awry, Linus Larabee (Humphrey Bogart) attempts to dissuade, then distract Sabrina from her heart’s desire. In the process, however, he discovers he has a heart as well as a brain, and Sabrina begins to waver in her certainty of her love for David.
I saw the Julia Ormond/Harrison Ford “Sabrina” first, many years ago, and LOVED it, but I had no idea it was a remake until a friend of mine rented the DVD (remember those days?) and brought it over. I remember watching in and mentally comparing it to its more recent counterpart, and I concluded in the end that the original Linus did not love the original Sabrina. Why? Because the way Bogart played him felt more like a calculating charlatan, while Ford’s version clearly transitioned from would-be seducer to suitor. The change was more obvious, genuine, and above all, believable. Yet I didn’t understand why until I watched “Sabrina” again in this collection.
It wasn’t so much the story itself, but rather Bogart’s tendency to act the same precise way with certain lines. I’ve seen enough of his work between my first viewing of the 1954 Sabrina and now to conjecture that in particular parts where Linus tells Sabrina some sad story of his past, it’s not that Linus is making it up to gain her sympathy like I first thought; it’s the way Bogart delivers, “Oh, yeah,” as if being recalled to something he mentioned previously is somehow an unexpected surprise. Hepburn, however, is far superior in her performance of Sabrina Fairchild. While Julia Ormond held her own acting with Harrison Ford and Greg Kinnear, she didn’t have the same illumination in her face, nor the same confident grace for which Hepburn is renowned.
Funny Face
This isn’t your normal opposites-attract love story. When a fashion magazine executive Maggie Prescott (Kay Thompson) and her head photographer Dick Avery (Fred Astaire) barge into a bookstore without permission to use it for a photo shoot, bookseller Jo Stockton (Audrey Hepburn) catches their attention with both her vocal assertiveness and unique face. When the same magazine executive decides the world needs a representative of the “ideal woman,” the same old models just won’t do, and she decides that Jo is different enough to make it work. Jo, however, has no desire to model, and it takes an appeal from Dick to lure her to Paris to both model for their magazine and meet her favorite living philosopher.
Funny Face is one of my least favorite Audrey Hepburn movie. It follows the same general direction of all musicals – songs and dances are stuffed into scenes wherever possible, regardless as to whether they ought to fit there. I think perhaps sometimes a composer is so intent on squeezing a song into a scene that they sacrifice quality and character believability. For example, the modern dance number in the Paris café – was there a revealing character point that needed to be mad? No. We already know Jo is independent, willful, and naive. The dance does nothing to augment or clarify that. It might be construed as demonstrating the “accepting” or perhaps “indifferent” mindset of the café patrons, as they studiously ignore Joe’s antics no matter what she does. However, had the film would not have suffered in the slightest if the number were cut. Also, the song about what reporters would ask Jo as the representative of the ideal woman. In no other scene do reporters ask anything of Jo, so why it is there? Again, we know the characters’ traits and history from previous scenes, so there’s no development needed, and the song doesn’t forward the plot or reveal anything necessary to the climax or resolution. It might have been added to help show what the fashion industry tries to shove down women’s throats about how to “be lovely;” unrealistic standards, all of them, since loveliness as defined by this song is possessing an endless supply of happiness, charm, know-how, jolliness, and cheeriness. Ridiculous. However, despite this clarification, the song has no useful function. Thus, the film, again, would not have suffered by its absence.
The story, however, can be viewed as rather compelling. It’s a tongue-in-cheek battle between the superficially beautiful and the self-righteously intelligent. The two war against each other, saying their way is the single definition of value, the true way to happiness. Each detests the other for their lack of understanding and acceptance, for their disrespect and mockery. But the representatives of these worlds, Dick and Jo, somehow manage to connect, appreciate, and eventually love each other. Dick is the only one in the fashion world that treats Jo with any modicum of respect, and Jo is much more than the usual glamorous-yet-vapid models with whom Dick usually works. Unfortunately, they still step on each other’s toes in surprisingly realistic dynamics. Jo forgets an appointment in her excitement at spending time with fellow philosophers. Dick reacts badly when confronted with jealousy. Jo’s naiveté about men’s motivations put her in a dangerous situation, and Dick insults Jo’s beliefs in a fit of frustration. They apologize, forgive, miscommunicate, resonate, and, ironically, manage to overcome their differences by exercising the one trait Jo prizes so highly, yet fails at applying: empathy. Moral of the story: It’s never either/or, but a balance of both/and.
Breakfast At Tiffany's
Breakfast at Tiffany’s is one of the most celebrated of Audrey Hepburn’s films. She plays Holly Golightly, the carefree ingénue searching New York for her perfect dream millionaire. One morning, Paul Varjack (George Peppard), a disillusioned young writer, moves into her building at the behest of his “patroness,” and he gets caught up in Holly’s hectic yet captivating lifestyle. She calls him Fred because he resembles her brother, and the two of them form an affectionate bond, one that survives personal drama, drunken insults, and romantic entanglements.
I feel sorry for Holly Golightly. She spends the whole movie not knowing who she is or what she wants, scared to pieces that she’ll be trapped in a life she hates, all while pretending to be glamorously eccentric. Charming she is, for sure, but even within the first ten minutes, we see her admiring wealth, fleeing aggressive suitors, manipulating men, and confessing to have moments of inexplicable terror – what she calls “the made reds.” But then, she is also so darling and worldly and child-like al at the same time you can’t help but enjoy her when she’s lively, or feel protective when she’s scared or grieving. I think that’s Holly’s universal appeal, the timeless draw of Breakfast at Tiffany’s: We see pieces of ourselves in Holly, and Hepburn has such a way of taking any character she plays and making her endearing.
Paul is also an interesting character. I’d seen Breakfast at Tiffany’s twice before, but only this last time did I pay attention to his character story. I always felt him too forgiving of Holly, but there are aspects of him I didn’t notice before – how he people watches instead of interacting, his constant “saving” of Holly (though she often forces it on him), his acceptance of being “sponsored” by a married woman, and his resentment at the lack of success of his first book. He transitions from a passive-aggressive protector to an active rescuer to a demanding lover, ultimately refusing to accept Holly’s stubborn pursuit of easy wealth and challenging her on her notions that everyone else seeks to put her in a cage – she’s already in one of her own devising.
Being that Roman Holiday was reviewed just last year by yours truly, you can read my thoughts on the film HERE
My Fair Lady
Same as Roman Holiday, the 4K UHD was reviewed a few months back, and you can find my thoughts on the film HERE
War and Peace
Ahhh, War and Peace, the film that is one of the few black stains on Audrey Hepburn’s impressive repertoire. King Vidor’s 1956 epic has the distinction of being the first film adaptation of Leo Tolstoy’s MASSIVE masterpiece novel, but has really aged poorly by my viewing. I haven’t seen the film is nearly 20 years, but even so, King Vidor’s adaptation simply reeks of having not enough screen time to flesh out such a behemoth of a novel, mixed with archaic film tropes that just don’t translate well today.
If I had to watch a version of War and Peace I would probably give that to the 1966 Russian release that was given an Oscar for it’s screenplay back then, but the insanely aggressive cutting of Tolstoy’s novel just doesn’t work in any world, as even that one is a pale imitation of the book by all objective stand points. Simply put, Audrey or Sergey Bondarchuk, you’re going to have a watered down experience that just doesn’t do justice to the source material.
There’s a voiceover arration describing the rise of the Napoleonic dynasty with the French invading Russia in 1812, but we’re really not privy to much about Napoleon (Herbert Lom) until the last bit of the film. The rest of the time is spent with the romantic interludes and tribulations of a group of Russian aristocrats. The chief of them being Pierre Bezukhov (Henry Fonda, even though he’s a 50 year old man playing a 20 something year old man) who is an illegitimate aristocrat (by birth) and suffers in the court of nobles as a result. He attempts to go to the war front to act as an observer before being drawn in, and then married off to Helene Kuragina (Anita Ekberg, who was infamously dubbed over for the film).
However, Pierre is in long with a young Natasha Rostova (Audrey Hepburn), whom is also loved by Pierre’s best friend Andrei (Mel Ferrer), which causes a bit of a stir among the two “brothers). Natasha herself is flirty and charming, but not only does she attract the eye of said two men, but also scoundrels like Anatol Kuragin, a man who seduces and tries to get Natasha to elope with him (though he is already married).
The film itself plays out awkwardly and jumps around a bit too much. There is just so much novel to unpack here and not NEARLY enough time. Even at 3.5 hours of length. Simply put, the film is a cliffs notes version of the story, and the clunky acting and stodgy set pieces can’t make an epic out of the film. It’s legendarily known for being the box office bomb that it deserved, and to this day I can barely finish the film without dozing off completely.
Paris When It Sizzles
Ah, Paris When It Sizzles, the rom-com that was supposed to re-unite William Holden and Audrey Hepburn to capture the magic of Sabrina. The film is one of those highly controversial roles for Hepburn, with some people writing the movie off as absolute garbage, and others considering it a fluffy rom-com where you leave your brain at the door. I’m part way in between, as I like to enjoy the fluffy cotton candy affair, but also realize that it is a PAINFULLY rushed production that seems to just fall over itself trying to critique Hollywood, all the while engorging themselves on every trope known to man, including the overly syrupy chick flick ending.
Paramount tried to recreate the screen magic of Hepburn and Holden, sending them over to Paris for the on location shoot with director Richard Quine in hopes of making as authentic a film (visually) as they could, only to release the production with critical notes like “Paris When it Fizzles”. Sadly the movie was an utter box office bomb and critical bomb alike, with Hepburn famously admitting years later that the movie was a mistake from day one.
The movie was supposed to be a light hearted rom-com along the tradition of many a 50s and 60s film, but it failed on every front. Richard Quine spends the first 30 minutes of the film with Audrey Hepburn and William Holden discussing the script for a new movie, so that by the end of that 30 minute period you’re droning asleep. It seems that screenwriter Richard Benson (Holden) has two days to deliver a script to his bosses at Paramount (very meta there) and he’s got writer’s block. Thus the inclusion of Gabrielle Simpson (Hepburn), a pretty young typist who is there to type out Benson’s thoughts and complete the script in the next two days.
What happens next is a mixture of Benson and Simpson collaborating on an outlandish new script, as well as them playing themselves IN the script as it unfolds. There’s a few tricks for the audience to stumble over in regards to where reality ends and script begins, but all in all, it’s a simple rom-com at the core. Girl falls in love with guy, guy is a jackass, and soon guy realizes he’s in love with girl and they end happily ever after.
Some of the film works on it’s own, especially in the second act when the script gets off the ground. However, the film is a bit TOOO cliched as well. The typical rushed Hollywood ending is about as believable as me falling in love with Lady Gaga after meeting in the street. The final 5 minutes are so ludicrous that even my complaints about My Fair Lady’s ending has nothing on this. It is what it is, and I kind of like the film, but understand why it was a total bomb as well. Despite the inclusion of Tony Curtis and Mel Ferrer (who also played in Hepburn’s War and Peace)
Rated G and PG by the MPAA
Video:
Sabrina is originally shot in black and white, which Warner has preserved in this transfer. However, despite the issue of such a limited palate, the detail and sharpness are incredible. Black crush is a danger for B&W, but no evidence of it is present, even during the nighttime scenes. Detail intricacies are fine and clean: wrinkles in David’s pants, the fine hairs along Sabrina’s temples, the pores in Linus’ face, individual strands of hair, even fabric textures. No sign of digital noise, banding, or macro-blocking - a phenomenal video transfer. Contrast is another nemesis of Black and White films, but it looks like the film was treated with kid gloves and the black vs. white balance is spot on perfect.
Interestingly enough, this is the first time that Sabrina has presented in it's original theatrical aspect ratio (well, being that this is just a repackaging of the WB 3 films set, the 2nd time). Before this, all the home video releases were open matte and taken from the original 1.37:1 source instead of framed how it was in theaters. It's interesting getting use to the new framing, consider that we've all seen it in 1.33:1 Academy for all these years, but it is certainly the most accurate presentation to date.
Funny Face
Funny Face is presented in bright, rich colors with fantastic detail. Lights are clean and crisp, and darks are deep and lush. Night scenes and shadows are devoid of crush. However, there are two scenes where the director chose to make artistic changes, the most annoying being glaring white. The edges of everything are softened, and anything white catches the light so intensely it gives the picture a hazy shimmer, like noon during a desert summer. It’s hard to watch despite the lovely location and pretty song, so much so that it gave me a mild headache. However, the rest of the picture is much more forgiving. the detail seems to be strong until you throw it on a projector screen and the whole thing starts to fall apart. On really large screen you can see there is a LOT of digital manipulation and trickery to make it look good on smaller screens. Once seen though, it can not be unseen and the DNR and other digital tools used turns it into an ugly mess. I have never seen a picture where it looks fine on a 60 inch screen but once put on the projector looks night and day difference. Sad, but it is the weak link in the set here.
Breakfast at Tiffany's
Thankfully Breakfast at Tiffany's is more like Sabrina, than Funny Face, as the video presentation is an absolute knockout from beginning to end with bright colors and and a very clean presentation. There is no print damage that I can ascertain and there is a wonderfully trim level of grain over the entire film. Detail is stunning as you can see every fold and curve of Audrey's sumptuous clothing and every crease on George Peppard's face in crystal clarity. Clarity and sharpness is exquisite, with only a few soft spots to mar the otherwise pristine image. It's always a revelation to see older movies like this one look so incredible and for some reason it actually gives me more joy watching these transfers than the already expected high quality of modern movies. The only fault to the image is that there is a bit of a waxy tone to the image, as some DNR was obviously used. It wasn't as bad as say, Face/Off, but it's noticeable if you know where to look.
Roman Holiday
My thoughts on the film's video quality can be found in the individual review from last year HERE
My Fair Lady
Luckily this is the restored version of My Fair Lady that Paramount did for the 2015 Blu-ray edition, and as such it is a STUNNER of a disc. Sure, it’s not the 4K UHD quality that I reviewed in the 4K disc, but it is still quite an impressive Blu-ray that maximizes the limitations of 1080p to the fullest. The 2011 discs quality is absolutely blown away with the new remaster as it shows a nice layer of grain throughout, but without showing any signs of swarming or digitally produced artifacting from the master. The colors are warm, vibrant, and show off so many different shades depending on the scenario. The ball is explicitly wonderful with every shade of color imaginable, and the infamous horse race (move yer blooming ***!!!) is impeccable with picture prefect whites and black clothing articles contrasting nicely. Even the black and grimy streets of London are immaculate in their dark levels and shadow detail. It’s meant to be dark and grimy, but the clarity is just razor sharp, allowing you to see every grain of dirt and grime on Eliza’s face. Absolutely impeccable disc.
War and Peace
War and Peace was one of the few of the Audrey Hepburn films that was mastered by Paramount instead of Warner (Warner had distribution rights for many of Paramount's catalog titles for years) and this is by far the WORST video of all of the titles in the batch. Originally a VistaVision film shot by Jack Cardiff (famous cinematographer back then) and was a work of art by all records. It even won an Oscar for its cinematography. However, the Blu-ray is problematic at best. There has been zero information provided as to the source of the master, but I can pretty much guess with great accuracy that this is an older master with many of the problems associated with a decade + source for the Blu-ray. Speckles, dust, dirt and other debris litter the image, as well as copious amounts of mild DNR. Colors are bland and flat, showing no depth to the image and looking very bleak by all standards. The whole Mosco world should sparkle and pop with colors and vibrant hues, but the image is dull and almost greyed. Sometimes you can see splashes of green during a battle, or the red of a uniform, but these don't really pop THAT much. Details are low budget and soft to the extreme, and I honestly think the old DVD from Paramount looks slightly better in some shots. Needless to say, this is the worst of the Audrey Hepburn films, and the transfer isn't really any better.
Paris When It Sizzles
Judging by my eyes (and lack of official information) Paris When It Sizzles appears to have been taken from a recent (ish) master that the DVD was struck from. It looks nice, is fairly clean of major debris, and the overly warm colors that were used for the 60s bleed through nicely. There IS some obvious speckling and debris on the film, as well as being a VERY grainy affair. However, the general clarity and sharpness of the picture is quite nice. The only weird thing I noticed was what appeared to be some sort of frame judder, making panning effects look a bit jerky at times. Otherwise nice blacks, decent pastel coloring and warm skin tones ala most 1960s films of the time. Not perfect, but solid enough.
Audio:
Sabrina is presented in its original 2.0 mono audio presentation with a DTS-HD MA upgrade. As you can guess from a mono release we aren’t going to any surround usage so there is some limitations there, but as a mono source it is a VERY well done mastering of the track. No distortion or hiss is present and the fidelity of the dialogue comes through with pinpoint clarity. Voices and effects are kept well balanced and I didn’t notice any muddying of the front two speakers, which is such a revelation, considering the distortion levels caused some problems in my old DVD. As a purist I’m happy that the original track was kept in its 2.0 form instead of remixing it to 5.1, but the nerd in me is curious how it would have turned out.
Funny Face
Funny face is upmixed from its original mono track to a fully mixed 5.1 DTS-HD MA track, although the 2.0 track is present for purists in Dolby Digital. The remix is a very good upgrade as it adds some depth and dimensionality to the audio, giving some umph in the low end and showing some very nice directionality. There is always a few limitations with these remixes and every once in a while you hear some funky sounds coming from the surrounds that probably shouldn’t have been there. Fidelity is excellent, considering the era and dialogue is spot on perfect, with excellent clarity.
Breakfast at Tiffany's
Breakfast at Tiffany's is the best of all 3 tracks, as it is an immerse and enveloping track, no matter the age of the movie. Fidelity is fantastic, with copious use of the surrounds as Henry Mancini's score comes to life in the home. Surrounds are in constant use with the musical score and the hustle n bustle of the city streets. Directionality is quite good with some excellent use of pans in the front sound stage. I have to say that hearing it this way is like hearing it for the first time as I'm so used to the old 2.0 track that the expanded sound field is just so incredible! auditory detail comes through in spades, but doesn't swamp the viewer in unneeded sounds. Dialogue is crystal clear and locked up front where it should be, and no extraneous dialogue or sounds are mixed in the back channels as with some remixes. Spot on excellent all the way around.
Roman Holiday
My thoughts on the film's audio quality can be found in the individual review from last year HERE
My Fair Lady
The film sports the same 7.1 Dolby TrueHD track found on the 4K UHD, thus my thoughts for the track can be found HERE
War and Peace
The 2.0 Mono track is a little better due to the fact that it’s a heavily dialog centric film, but it’s not exactly a stunner either. Voices are generally crisp and clear, while the atmosphere of the film is handled easily enough in the mains. The dynamic range isn’t really huge, but that’s to be expected in a mono track, and Nino Rota’s score is reproduced rather faithfully. As said, this is a gigantic talky film, so expect the two mains to be rather flat and uniform, with tons of dialog and some moderate activity thrown in to spice things up a bit.
Paris When It Sizzles
The audio was a bit worse for wear than the video was, as there are some interesting auditory anomalies here. The dialog is general clear and very appreciable without any major harshness on the highs for this 2.0 track. Sometimes there is a vocal crackle, but very rarely, and only in minute instances. However, I did notice background hiss and static to be very obvious in some scenes, especially when Miss Simpson heads off to bed and Benson is outside drinking. Here shots are crystal clear, when whatever recording device was in the room with Holden was definitely causing some hiss and static. Overall ambiance is solid for a 2.0 track, and at the end of the day it’s quite serviceable, if not a bit flawed.
Extras:
• Audrey Hepburn: Fashion Icon
• Sabrina’s World
• Supporting Sabrina
• William Holden: The Paramount Years
• Sabrina Documentary
• Behind the Gates: Camera
Funny Face
• Kay Thompson: Think Pink!
• This is VistaVision
• Fashion Photographers Exposed
• The Fashion Designer and His Muse
• Parisian Dreams
• Original Theatrical Trailer
Breakfast at Tiffany's
• Commentary by producer Richard Shepherd
• A Golightly Gathering
• Henry Mancini: More Than Music
• Mr. Yunioshi: An Asian Perspective
• Breakfast at Tiffany’s: The Making of a Classic
• It’s So Audrey: A Style Icon
• Behind the Gates: The Tour
• Brilliance in a Blue Box
• Audrey’s Letter to Tiffany
• Original Theatrical Trailer
• Galleries
Roman Holiday
• 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
• Paramount in the ‘50s
• Remembering Audrey
• Theatrical Trailers
• Galleries
My Fair Lady
• More Loverly Than Ever: The Making of My Fair Lady Then & Now
• 1963 Production Kick-Off Dinner
• Los Angeles Premiere 10/28/1964
• British Premiere
• George Cukor Directs Baroness Bina Rothschild
• Rex Harrison Radio Interview
• Production Tests
• Alternate Audrey Hepburn Vocals
• Galleries
• Comments on a Lady
• Theatrical Featurettes
-- Story of a Lady
-- Design for a Lady
-- The Fairest Fair Lady
• Trailers
• Awards
War and Peace
•
Paris When it Sizzles
• Trailers
Final Score:
The set is conglomeration of most of the Audrey Hepburn movies out on Blu-ray, and most of these films have been released singly, and in a boxset several times over during the years (with one of them getting a 4K UHD treatment). Sadly that means those of you who want to get Paris When It Sizzles will be forced to buy the boxset even if you own the other 6 films. Part of me grumbles that this is a cash grab as none of the discs are anything other than their single disc counterparts, and another part of me realizes that this is simply them putting out a big boxset. My only REAL complaint is that Paris When it Sizzles SHOULD have been put out as a single disc release for those who wanted to just get that. Either way, solid boxset with a plethora of great films, and a couple of not so hot ones for your Audrey Hepburn viewing pleasure.
Technical Specifications:
Starring: Audrey Hepburn, William Holden, Humphrey Bogart, Fred Astaire, George Peppard
Aspect Ratio: 1.78:1, 1.37:1, 2.20:1 AVC
Audio:
Breakfast at Tiffany's : English DTS-HD MA 5.1, English French, Spanish, Portuguese DD Mono
Funny Face: English DTS-HD MA 5.1, English, French, Spanish DD 2.0 MOno
My Fair Lady : English Dolby TrueHD 7.1, German, Spanish, French, Italian, Japanese DD 2.0 Stereo
Roman Holiday: English: Dolby TrueHD 2.0 Mono, German, Spanish, French, Italian, Japanese Dolby Digital 2.0 Mono
Sabrina : English DTS-HD MA 2.0 Mono, French, Spanish DD 2.0
War and Peace : English Dolby TrueHD Mono, French Spanish DD Mono
Paris When It Sizzles: English Dolby TrueHD 2.0 Mono, French, Spanish DD 2.0 Mono
Subtitles:
Breakfast at Tiffany's: English, English SDH, French, Portuguese, Spanish
Funny Face: English SDH, French, Spanish
My Fair Lady: English SDH, French, German, Italian, Japanese, Portuguese, Spanish, Danish, Finnish, Norwegian, Swedish
Roman Holiday: English, English SDH, French, German, Japanese, Spanish, Cantonese, Danish, Dutch, Finnish, Korean, Mandarin (Simplified), Mandarin (Traditional), Norwegian, Swedish, Thai
Sabrina: English SDH, French, Spanish
War and Peace: English SDH, French, Spanish
Paris When It Sizzles: English SDH, French, Spanish, German, Japanese
Studio: Paramount
Rated: G/PG
Runtime: 114 minutes(Sabrina) : 103 minutes (Funny Face) : 115 minutes (Breakfast at Tiffany's), 172 minutes (My Fair Lady) : 118 minutes (Roman Holiday) : 208 minutes (War and Peace) : 110 minutes (Paris When It Sizzles)
Blu-Ray Release Date: October 5th, 2021
Recommendation: Solid Set
Last edited:
