The Moderns: Collector's Edition - Blu-ray Review

[Michael Scott]

The Moderns: Collector's Edition

Movie:
Video:
Audio:
Extras:
Final Score: ​

​

Movie
Most people think of art house films as a modern invention, created during the turn of the century, or the late 90s at the very least. Films that make the rounds at Sundance film festival and the like, garnering high praise among the critics and connoisseurs, but having a hard time relating to the common cinema goer. Well, that really isn’t the case at all, and there are actually quite a few prolific films that heralded the age of the modern art house film, with The Moderns being one of the few that stuck out in my mind as being truly memorable. Back in 88 I barely remembered the film besides the fact that one of my art teachers was raving about it as being the next great film to watch out for, and seeing that it got a LOT of really great press. I vaguely remember being not very impressed with the movie in the late 90s when I actually got around to checking out the VHS in my local blockbuster, and largely forgot about it till Shout Factory announced that it was going to come to Blu-ray as the 30th title in their elite “Shout Select” lineup.

Digging into the film I immediately remembered WHY I wasn’t so fond of The Moderns so long ago. Even after all these years you can’t really polish up a film like this very much , and while I HATE to not like what is widely considered a classic, I just can’t can’t seem to muster up enough enthusiasm for the movie to really enjoy it like so many others have. The backdrop is one of 1920s Paris. A time when anything went, and art was the currency of the elite Parisians and artists that flocked to the city. Americans who wanted to get with the pulse of the decadent city, or businessmen who wanted to use the affluent nature of the environment to conduct their business. Nick Hart (Keith Carradine) is at the heart of this tale of intrigue and romance as an American artist making a meager living drawing cartoons for a local newspaper at the behest of his friend Oiseau (Wallace Shawn of The Princess Bride). However, Nick is worth much more than a comic artist, and his skills are taken into account when he’s swept up in an art fraud scheme with Nathalie de Ville (Geraldine Chaplin) and starts creating forgeries in order to sell to wealthy art collector and businessman, Bertram Stone (John Lone).

To make matters even more complicated, Bertram is a bit of an adversary thanks to the fact that Bertrams girl just so happens to be Nick’s estranged wife, Rachel (Linda Fiorentino). What is initially just an art scheme and a way to get his art out into the public, turns into a rabid affair of the heart as passions are kindled between himself and Rachel. Not to mention a dangerous dance as the two lovers try to navigate around the vicious nature of Bertram and his copious connections while living in the city of eternal love.

The Moderns got a LOT of love back in the day, and has become a cult masterpiece according to many cinemaphiles. I had a hard time with the review because most of the time was spent with me wondering just WHY the movie is as beloved by many as it is. Honestly the film is a turgid affair, with a sluggish plot line that seems way to fanciful and melodramatic for its own good. I like to say that many art house films are fantastic, but too many fall prey to being pseudo intellectual and soap operaish for their own good. While The Moderns doesn’t try to be overly intellectual or smarter than it really is, it DOES fall prey to a large quantity of melodramatic soap opera acting. It really gets into the period feeling of the 1920s, but then bastes the entire picture with over the top drama and a sappy score that seems to try and elicit emotion from stale and cottonmouth dry scenes.

Acting wise, I have to give credit where credit is due. Keith Carradine is the star of the show, and he plays that sort of “Sam Spade meets a starving artist” character with gusto and enthusiasm. He’s suave, debonair, pitiable and completely manly at the same time. Linda makes a great foil for his hard boiled attitude and you can’t take your eyes off of John Lone for a minute. His snakish bad guy persona is subtle, yet over the top, and his soft and metered voice makes him sound like the unpredictable character that he is. Had it not been for a script that feels like a melodramatic version of a Telenova script, I would have probably been able to give it the two thumbs up that many others have given the movie.




Rating:

Rated R by the MPAA




Video:

Shout Factory has claimed a new 2K master struck from the original film elements, and I believe them. The 1.85:1 AVC encoded Blu-ray looks simply phenomenal. The movie sports a very healthy looking picture that shows a nice grain structure, and one that shows off way more detail than I ever expected. The overall image is bathed in light grays due to the shooting style, but bright primaries are vivid and pop off the contrasting gray when necessary. Watch Nick’s painting of the nude lady, or the bright red of a passing car in 1920s Paris as it passes by. Facial tones are wonderfully replicated, although skin tones can look a bit pallid at times due to the hazy looking French city. Fine detail shows all sorts of fibers and notches on clothing, while showing even simple morning razor burn on Wallace Shawn’s neck as he comes out of the cellar in drag. The film shows a bit of softness here and there, and also shifts between colorized moments and shots that are completely in black and white. Both with look equally resplendent. An excellent remaster from Shout by all accounts.






Audio:

Shout Factory gives us the obligatory options of a 2.0 DTS-HD MA track as well as a 5.1 DTS-HD MA lossless track to enjoy, and naturally I give the edge to the 5.1 mix. The film is an art house drama, and as such it carries with it a fairly forward heavy mix. Vocals are the mainstay of the film, but the 1920s inspired score fills out the back end and livens up the surrounds with some nice activity. Vocals are crisp and clean, while the low end has some mild rumble with jazzy music, and is applied to some cars rumbling down the street. Otherwise the laid back track is content to deal with voices and the soft sounds of the inner Parisian city.





Extras:

• NEW, Interviews with Director Alan Rudolph, Producer Carolyn Pfeiffer, and Star Keith Carradine
• Newly Remastered in 2K from the Original Film Elements

Final Score: ​

I always hate to be the lone man out who gives a bad review to a supposed classic, but The Moderns has not aged well at all and is one that I sadly have to give a thumbs down on. Being that it IS so widely regarded as a cult classic, I highly recommend checking out the film for yourself in order to decide (usually there is a reason for high praise), but I personally just couldn’t enjoy the film as I hoped that I might. Shout Factory has done a bang up job on the restoration of the video, and the audio is quite pleasing as well. My only complaint is that there are very few extras for a self proclaimed “Collector’s Edition”, and sadly no accompanied slipcover is present. Still, I have to give the movie a “rental” recommendation based upon my enjoyment.




Technical Specifications:

Starring: Keith Carradine, Linda Fiorentino, Wallace Shawn
Directed by: Alan Rudolph
Written by: Alan Rudolph, John Bradshaw
Aspect Ratio: 1.85.1 AVC
Audio: English: DTS-HD MA 5.1, DTS HD MA 2.0
Studio: Scream Factory
Rated: R
Runtime: 126 Minutes
Blu-ray Release Date: September 19th, 2017

Image

• Michael Scott
• May 11, 2017

Recommendation: Ok Watch

 

[tripplej]

Thanks for the review. I never actually saw this movie. I will see if it is available on amazon prime/netflix/hulu.