
The Disc
Extra Features
Philip Kemp, a regular contributor to Sight & Sound, provides a curate’s egg of a commentary which provides some fascinating background and historical information, trivia and goofs but spoils it by lapsing into descriptive mode and even taking ten minutes out to enjoy the dialogue and direction!
The 49 minute Forever Ealing documentary, originally broadcast on Channel 4 in 2002, is well narrated by Daniel Day-Lewis and covers the rise, fall and rise again of the studio with clips from many films and contributions from actors and filmmakers who worked there.
There is an introduction to the film by Terry Gilliam which isn’t an introduction in the strictest sense of the word, rather Gilliam talking enthusiastically about why he likes the film so much and the best things about it.
Cleaning up The Ladykillers is a detailed look at the restoration process with the information told through intertitles and scenes from the film with a dividing line showing the before and after, with the amount of print damage that was cleaned up extremely evident.
There are three interviews with people who either worked with members of the crew or knew them: Allan Scott, Ronald Harwood and Terence Davies who are all extremely complementary about The Ladykillers and every aspect of it.
There is also the trailer and a booklet that wasn’t provided for review.

The Picture
This will never look perfect but this is probably as close to that as you’ll get with massive amounts of grain, scratching and water damage removed in the restoration process that also sharpened up some of the blurry elements that occur around cuts. This BD maintains the OAR of 1.33:1 which is preferable to previous DVD releases that presented the picture as a matte 1.66:1.
The Ladykillers was shot in 3 strip Technicolor, one of the last films to use this process, which gives the brighter elements a real vivid look and the darker scenes a real oppressive look with great use of shadow. The house was built from scratch and the location couldn’t have been any better as the interiors look fantastic and, as it backs onto a railway line, there is the permanent presence of trains and movement, along with the noise, to add to the atmosphere.
The Sound
Beautifully presented in DTS-HD Master Audio 2.0 Mono, the dialogue is crisp and emphasises the terrific delivery from each and every cast member. The score is a permanent presence, encompassing train whistles and a theme for every character that changes subtly throughout the film. It’s almost worth watching it just to pay attention to the music.

The Ladykillers is a timeless classic and one of the greatest comedies to come from these shores. The terrific script is wonderfully realised by Alexander ‘Sandy’ Mackendrick, who also helmed Whiskey Galore!, The Man in the White Suit and, to show his versatility, The Sweet Smell of Success. You couldn’t ask for a better cast and it’s a privilege to watch Alec Guinness on such form and it’s hard to believe he only got the part because Alastair Sim was busy! Almost the star of the show is Katie Johnson who is unbelievably funny and subverts the stereotype of a sweet old lady brilliantly.
The disc features a raft of new (to the UK) extra features which are extremely welcome and all well worth a watch, plus the restoration featurette is exclusive to the Blu-ray. This is a great film and a package that is well worth your money.
Hi David - I agree wholeheartedly with every aspect of your review except one: the picture quality. I would say that this is only marginally better than the DVD I have when viewed on the same equipment. It has nothing of the crisp detailed clarity that we have come to expect from this series. (I have just watched 'The Go Between' and it is a much superior transfer. Also - the clean up you mention> I don't believe that this is a print clean up at all, but rather a digital clean up of an already transferred tape master. (The givaway was the green flecks and drop out).
Apart from that ...I'm with you. Possibly a top ten movie. Yo ucan see whay the Coen brothers were seduced into an ill-fated re-make.
I agree that the picture isn't close to reference quality and is quite soft, I do believe that it is probably as good as it can look and wouldn't look any better in the cinema. The film stock is probably not the greatest so any restoration can only do so much. Don't forget that The Go Between is 15 years younger and was possibly better quality to begin with. At least they've got it in the proper aspect ratio for once!
The anorak/Sherlock Holmes in me wants to knock on Optimum's door (just behind Carnaby Street i noticed the other day) and quiz the person responsible for the restoration. Here's my theory: they still possess a digital tape (probably Digi-Beta) of the transfer commissioned for their initial licencing for the Studio Canal DVD. During a discussion about using that tape to re-encode at a higher bit rate (HD) someone has suggested cleaning it up. It' s been digitised into an HD Avid suite (or Final Cut) and some grading software has been used as well as photoshop to eradicate the drop out and blips etc on the original master tape. This has improved the look of the original transfer but NOT the quality of that which, as you say, looks soft. The result is an HD encoding of a cleaned up telecine transfer tape that wasn't particularly well done at the outset. The film isn't that old that a pristine transfer wouldn't be possible. There are probbaly several negatives around just waiting for reprocessing and transfer...but that costs big bucks. I just think it's a shame that such a great film won't get that level of loving care and attention. Having said that, you're quite right in saying that this is the best yet.
If you have a few days free, don a deerstalker, light a pipe and let me know what you find out!
It's a shame that we don't hear more from Mr. Mark Oates. He was a wonder at figuring these things out. Perhaps I could be a Watson to his Holmes? Just a thought...or am I getting carried away? 'Calm down dear - it's only a blu-ray'!