Targets

Targets" has been granted an impressive 1080p transfer in its original 1.85:1 aspect ratio, encoded with MPEG-4 AVC, showcasing the film on Blu-ray in a manner that is sure to captivate Criterion collectors and film enthusiasts alike. This release benefits from a meticulous 4K digital master, created from the 35mm original camera negative which underwent a high-fidelity 4K 16-bit scanning process using a Lasergraphics Director film scanner. Ensuring auditory fidelity as well, the original monaural soundtrack received a thorough remastering from the 35mm magnetic track. The technical prowess of transfer supervisors Peter Bogdanovich and Lee Kline, together with colorist Gregg Garvin of Roundabout Entertainment in Burbank, CA, is evident in this careful treatment of the film’s video presentation.

Despite the technical acumen applied to its restoration, the 4K makeover of "Targets" elicits mixed feelings. On one hand, the visual quality benefits from significant enhancements in delineation, clarity, and depth—attributes that lend parts of the film a freshly minted appearance. However, this contemporary visual overhaul comes at the cost of altering the film’s historic aesthetic identity. The regrading process notably shifts the film’s color palette, particularly concerning its blues which, in some scenes, are substituted with variations of turquoise or entirely new temperature settings. This recalibration not only disrupts the late 1960s ambiance that is intrinsic to "Targets" but also parallels controversial color adjustments seen in other recent 4K restorations such as "Secret of the Incas" and "Marathon Man." Consequently, these changes compromise the authenticity of the film's original visual signature, making it challenging to appreciate its unique qualities from its era.

In sum, while there are no encoding anomalies present and the Blu-ray disc itself is Region-A locked—ensuring broad playability regardless of geographical location—the 4K upgrade's ambition to contemporary visual standards inadvertently diminishes the film’s historical essence. Fans may find themselves caught between admiration for the technical achievements in video quality and a sense of loss for the original cinematic hues that defined "Targets." The transformation showcases a double-edged sword of modern restoration practices: enhancing clarity while risking the obliteration of period-specific details.

The Blu-ray version of "Targets" presents its audio in an English LPCM 1.0 track, ensuring that it remains faithful to its original mono presentation. Accompanying this solitary audio option, viewers have the privilege of toggling Optional English SDH subtitles. These subtitles are thoughtfully integrated within the image frame itself, thereby benefiting those who rely on them for an enhanced viewing experience without disrupting the visual integrity of the film.

Auditory clarity is a highlighted feature of this release, facilitating an effortless engagement with the dialogue and sound effects. Nevertheless, audiophiles and discerning watchers might detect intermittent dynamic variations throughout the movie. An enlightening segment with Peter Bogdanovich sheds light on this phenomenon; it underscores the film's production challenge, where significant scenes were filmed in silence and later meticulously dubbed. It's this post-production endeavour that likely accounts for the slight inconsistencies in audio dynamics observed.

Despite these variable audio dynamics, the track is free from common imperfections such as dropouts, background hiss, or distortions, speaking volumes about the meticulous restoration effort behind this release. It's these details that underscore a commitment to preserving the film's auditory legacy, despite the technical limitations of the era in which it was initially produced. This dedicated approach to audio preservation serves to enhance one's appreciation for "Targets," providing an immersive experience that remains as close as possible to its intended auditory aesthetic.

The extras featured in the Blu-ray presentation of "Targets" offer an in-depth and varied look into the creation and impact of this seminal film. Beginning with an archival introduction by director Peter Bogdanovich, viewers gain insights into the film's conception and production, alongside fascinating anecdotes about collaborations with film industry legends. Richard Linklater's contemporary discussion further illuminates Bogdanovich's legacy and the timeless relevance of "Targets." Additionally, Polly Platt's audio excerpts provide a personal and detailed account of the film's behind-the-scenes, enhancing our understanding of its historical context. The inclusion of a vintage trailer adds a nostalgic glimpse into the movie's original marketing, while the comprehensive illustrated booklet enriches the package with critical essays and archival interviews, rounding out a well-curated collection of extras that both cinephiles and casual viewers will find enriching.

Extras included in this disc:

• Introduction by Peter Bogdanovich: Archival program discussing the conception and production of Targets.
• Interview with Richard Linklater: A discussion on Bogdanovich's style and Targets' cinematic qualities.
• Excerpts From Polly Platt at the AFI: Audio excerpts on Platt's involvement in Targets.
• Trailer: Vintage trailer for Targets.
• Booklet: Illustrated booklet featuring essays and interviews.

Criterion's Blu-ray presentation of Peter Bogdanovich's "Targets" (1968) is a testament to the film's enduring relevance and artistic acumen. The release is bolstered by a suite of supplementary materials that shed light on the unique challenges and creative solutions surrounding the film's production. The provided archival content, including an introduction by Bogdanovich himself and a new program with Richard Linklater, underscores the film's journey from a constrained Corman production to a piece hailed for its directorial prowess and thematic boldness. This backstory, particularly the creative input from Sam Fuller, enriches the viewing experience by highlighting the collaborative spirit and the film's evolution beyond its budgetary and conceptual confines.

"Targets" emerges as a compelling blend of reality and fiction, skillfully juxtaposing the chilling tale of a mass murderer, based loosely on Charles Whitman, with that of an aging horror movie actor portrayed by Boris Karloff. This duality serves not only as a narrative device but also as a commentary on the changing nature of horror, from fictional monsters to the more disturbing reality of random, inexplicable violence. The meticulous craftsmanship in weaving these parallel stories, despite the initial challenges articulated by Bogdanovich, showcases a remarkable directorial debut that exceeds the typical expectations from a low-budget assignment.

Technically, "Targets" belies its modest origins with cinematographic choices that imbue it with the gravitas and visual finesse of higher-budget films. Its realistic portrayal of violence, particularly the unnerving highway footage, demonstrates Bogdanovich’s ability to maximize the impact of each scene within tight constraints. The homage to Karloff in what would be one of his final roles adds a layer of poignancy, celebrating his legacy while contributing to the film's critique of Hollywood's golden age horror tropes. Through Bogdanovich’s lens, "Targets" transcends its limitations to explore the darker corners of American culture, making it a notable precursor to New Hollywood cinema.

The Blu-ray release of "Targets," Peter Bogdanovich's directorial debut, offers an intriguing meld of homage and horror, closely connecting with Edward Dmytryk's "The Sniper" (1952) and Irving Lerner's "City of Fear" (1959) through its chilling narrative. This film successfully pays tribute to the legendary Boris Karloff, intertwining his legacy with a story that, distressingly, mirrors real-world horrors, showcasing cinema's potential to blend art with commentary on societal issues. Criterion's effort in bringing this classic to the modern era includes a brand new 4K restoration. However, the transformation is a double-edged sword; while aiming to enhance, it somewhat distorts the film's original texture and visual intent.

The technical undertaking of converting "Targets" into a 4K resolution Blu-ray is both ambitious and contentious. Purists might argue that the restoration alters, rather than preserves, the film's authentic visual experience, suggesting a disconnect between technological advancement and artistic fidelity. The endeavor to modernize the film’s appearance inevitably impacts its native visual storytelling, possibly affecting the viewer's immersion and connection with the historically rooted narrative and cinematic style that Bogdanovich originally presented.

In conclusion, while Criterion’s release of "Targets" in 4K on Blu-ray represents a significant attempt to honor and preserve cinematic history, it embodies the complexities of modern film restoration processes. Despite the technical prowess displayed in the restoration, the alteration of the film’s inherent visual characteristics may not resonate with all audiences, presenting a contentious point on the balance between preserving authenticity and embracing technological enhancements. Nonetheless, this release undoubtedly contributes to the ongoing conversation about film preservation ethics and offers an opportunity for new audiences to engage with Bogdanovich's iconic work, albeit through a lens that sparks debate on the nature of cinematic authenticity in the digital age.