Columbia has mastered this gorgeous,
widescreen color film in their Superbit format, which uses more disc space for the picture and sound and less for the extras.
Not exact matches
To really truly appreciate this classic movie it is best to see this in the «
widescreen» format (Originally
filmed in
widescreen Cinemascope and Breathtaking
Color).
Tarantino, who began the
film in black and white before switching to
color, plays with formats here, too; to suggest the claustrophobia of being buried, he shows The Bride inside her wooden casket, and as clods of earth rain down on the lid, he switches from
widescreen to the classic 4x3 screen ratio.
The 1.78:1 16x9 - enhanced
widescreen transfer indeed dazzles and while the
film's visuals aren't as stunning as some other CGI cartoons, they're easy on the eyes and filled with vivid, pleasing
colors.
The 1:85 aspect ratio has been shaved to fit the 16 × 9
widescreen format and the mastering is weak, with unstable, noisy
colors and hazy resolution, adequate for a bargain - priced
film but not worthy of the beauty of John Huston's swan song.
This is Fleischer's first
film for Fox and he meets the house CinemaScope style — handsome, roomy sets, strong
color, open spaces and long, fluid takes (the better to drink in the
widescreen images)-- with careful staging and frames filled with little dramas, but he also puts an edge to the stories that play out in the glossy spaces.
With a firm grasp on the high watermarks in technological
film history, Cameron appears to school Quittner on the basics: the coming of sound,
color,
widescreen, stereo sound, and 3D.