Midway
UNIVERSAL HOME VIDEO - 20439

STATS
Widescreen (Letterbox 1.85:1), Color, CC, MONO (1.1), Languages: English, French, Subtitles: English, Spanish, Chapters: 16, Running Time: 1 hrs. 59 mins., Rated PG, Price: $14.95



VISUAL
This new anamorphic transfer is just about as perfect as it can get for any format. The clarity of the footage filmed for the production is so clearly depicted in this transfer it makes the “real” battle footage stand out even more with its grain and gritty look. At the time of the film’s theatrical release it was well touted real WWII color battle footage (long thought lost) would be integrated as part of the film for sense of “you are there”, realism. In the theatre no one questioned this, in fact I remember hearing reactions like, “Oh, that must me real footage”. It was never considered the cheap way out. Still, the extra clarity offered by the DVD format does deliver a sharp contrast between the two elements so expect in your viewings.

AUDIO
The film was released in the process known as SENSERROUND (see link below to article). For this reason UNIVERSAL has included a L.F.E. track – thus the .1 Theatrically released in MONO the mix is preserved, and is rendered well here. The added bass track supports the mix well in both effects and music. If the viewer wants an added effect consider turning up the bass just a bit so the subwoofer can take extra advantage of the L.F.E information. In the theater the bass was part of a special sound presentation which filled the air with currents of strong bass shaking the audience beyond any 5.1 presentation known today. At home it may not have the same jarring effect, but is does add a bit of fun to the viewing. The mix is very much akin to the transfer for ROLLERCOASTER, which also was released in SENSURROUND.

EXTRAS
THE MAKING OF MIDWAY – Color, Anamorphic 1:85:1, Stereo, Running time 38 mins., 54 secs.– A lot in a very condensed way is covered in this documentary. Aside from Heston, production personnel are interviewed in newly conducted interviews. The pre and post production is address; and even the extra footage filmed for the Network premier. I think the most interesting bit of info has to do with the “grading” down of the film to better ease the audience into file and historic material which was used to accent the film.

THE SCORE OF MIDWAY – Color, Stereo, Running time 6 mins., 21 secs. John Williams is interviewed on camera for this newly produced piece. He talks about what inspired him in his life to bring forth the score. It’s a short piece but a welcomed one. Music is so very much left out of the bonus material mix unless the score won, or was nominated for an award. There are so many scores that deserve attention but never receive it. MIDWAY might not be one of those scores but never the less it is nice gesture.

SENSURRUND: THE SOUNDS OF MIDWAY – Color, Anamorphic 1:85.1, Stereo, Running time 4 mins., 17 secs.
Although the film’s producer is heard from it doesn’t make sense that John Williams is heard from – ironically his score was almost unheard during the theatrical presentation due to SENSURROUND. Strangely, none of the people concerned with the actual inception or design of the sound system are heard from. This leaves this short greatly lacking in proper coverage of this very special, and now defunked sound system. (For more on SENSURROUND read the article on SENSURROUND posted in ARTICLES.)

SCENES SHOT FOR THE TV VERSION – Color, MONO, 1.33:1 Running time 10 mins., 28 secs. These scenes are presented without introduction or text. Due to the different aspect ratio it would be impossible to insert them back into this widescreen version of the film. For the TV Network airing of course it didn’t matter since a pan & scan version made 2.35:1 film into a 1.33:1 presentation. The scenes included here add to the character development of Charlton Heston character which would probably bogged down the theatrical presentation if included originally. However, there were other scenes which were also added for the TV airing where have not been included in this DVD release. That footage extended some battle scenes and I don’t understand why they weren’t included, perhaps reinserted back into the film since they were probably just cut for length of the theatrical version.

“THEY WERE THERE” HOSTED BY CHARLTON HESTON – Color, MONO, 1.33:1 MONO Running 6 mins., 21 secs.
This is an original, or vintage, piece that not only acted as a promotional piece prior and during the film’s original theatrical release, but it serves as a historical documentary as well. It is told without the common or hip hype so casually done today. The best aspect of this promotional-documentary is the on screen interviews of the real men who lived through the battle of MIDWAY. It adds a bit of realism to the film and acts as a reminder the historical nature of the film. Back then one might find this as a short prior to seeing a film in the theatre. Pieces like this also showed from time to time on TV as filler between programs.

PHOTOGRAPH MONTAGE – Both publicity and production photos are shown slide show fashion accompanied with the score from the film.

PRODUCTION NOTES (TEXT)

CAST & FILMMAKER’S BIOS (Text)

THEATRICAL TRAILER – Running Time 1 min., 16 secs., Color, MONO, 1.33:1 It would have been nice if UNIVERSAL had included the SENSURROUND trailer. With this release having a featurette on SENSURROUND one would think that trailer along with the regular release trailer (although both are same minus the mention of SENSURROUND) should be included. The SENSURROUND trailer was on the Laserdisc release.


Disc

PRESENTATION
Main menu is both animated and has sound. Sub-menus are still and silent with no transitions. A newly designed cover art is boring and without imagination compared to the thrilling and beautiful artwork used for the theatrical poster. The disc comes packaged in a plastic black Amaray.

SIGHTS AND INSIGHTS
For more info/background on SENSURROUND …

REVIEW by Scott Michael Bosco©
RETURN to the DIGITAL CINEMA Main Page



READ THE ARTICLE ON SENSURROUND