Angel, Angel, Down We Go Blu-ray Review

The AVC encoded image for "Angel, Angel, Down We Go" is presented in 1.85:1 aspect ratio, giving the film a rejuvenated visual appeal on Blu Ray. The video transfer provides a bright viewing experience that aligns well with the cinematographers' original intent, apart from a few inherent focus issues. The high level of sharpness accentuates fine details in the passionate performances and intricate set designs. Colors are impressively vivid and balanced, with bold primaries from painted sources and costumes standing out. Skintones are accurately rendered, capturing the heavily made-up actors authentically. Black levels are consistently deep, offering satisfactory delineation in darker scenes and preserving details in thick hairstyles and deep fabrics.

While close-up shots reveal exceptional texture in costumes, individual hairs, and beads of sweat, some wider shots appear slightly softer. The video quality does justice to the film’s age and budget constraints. There is occasional light speckling throughout, and a brief instance of horizontal lines around the 43:00 mark, which may distract but do not significantly detract from the overall experience. Despite these minor issues, the Blu Ray transfer achieves a solid balance, revitalizing the visual feel of "Angel, Angel, Down We Go" for contemporary audiences.

The audio presentation for the Blu Ray of "Angel, Angel, Down We Go" is delivered through a 2.0 DTS-HD MA sound mix. While the sound quality is generally adequate, several aspects detract from an optimal listening experience. Notably, the opening 15 minutes showcase mild volume fluctuations, leaving the audio slightly unsettled. The dialogue remains intelligible throughout; however, it does exhibit moments of shrillness and crispiness, particularly during intense dramatic scenes. This can cause a somewhat harsh auditory experience although the clarity of spoken words is primarily maintained.

The musical score, a significant aspect of "Angel, Angel, Down We Go," retains a passable level of fidelity with robust instrumentation, albeit with occasional muffling. This is a bright spot in the soundtrack as it supports the film's atmosphere and emotional beats effectively. However, there isn't a particularly expansive dynamic range evident in the mix, and lower frequency effects (LFE) are merely adequate, lacking depth and impact. Sound effects, although present, are unremarkable and fail to achieve realistic directionality or immersion. It's worth noting that while there's a significant amount of music within the film, the absence of a 5.1 audio option might be seen as a missed opportunity to enhance the overall sound experience. Nevertheless, no noticeable instances of pops, cracks, or hiss were detected throughout the audio track.

The Blu-ray release of "Angel, Angel, Down We Go" offers a robust selection of extras, each providing insightful and historical context to the film. The audio commentary by esteemed film historians Nathaniel Thompson and Tim Greer stands out for its depth, covering the careers of the cast and crew, behind-the-scenes anecdotes, and insights into the late 1960s film landscape. Complementing this is a still gallery that showcases a variety of production and publicity images, and an HD theatrical trailer that gives a glimpse into the film's original marketing.

Extras included in this disc:

• Audio Commentary: Film historians Nathaniel Thompson and Tim Greer provide an informative and engaging discussion about the cast, crew, and the 1960's film era.
• Still Gallery: A collection of 14 production and publicity images from "Cult of the Damned".
• Theatrical Trailer: HD trailer for "Angel, Angel, Down We Go", offering a nostalgic view of the original promotional material.

"Cult of the Damned," also known as "Angel, Angel, Down We Go," embodies the essence of late 1960s counterculture cinema, reflecting a turbulent era marked by political upheaval and a rebellion against societal norms. The film combines elements of musical drama and horror, drenched in period-specific malaise and rock and roll influence. It’s an exhausting yet fascinating blend that caters to those who embrace the rebellious spirit of that volatile era. However, the narrative tends to be repetitive and moves at a painstakingly slow pace, which may test the patience of even the most dedicated viewers.

The plot centers around Tara (Holly Near), a teenager grappling with familial and social dysfunction exacerbated by her eccentric parents—an airplane manufacturer father (Charles Aidman) with hidden proclivities, and a mother (Jennifer Jones) with a past in adult films. Tara's return from boarding school marks her naive introduction into a world of seduction led by rock singer Bogart (Jordan Christopher), who aims to dismantle her family through manipulation and coercion. Accompanied by bandmates, including characters played by Lou Rawls and Roddy McDowall, Bogart's influence on Tara is marked by bizarre and reckless acts such as skydiving, designed to seduce and dominate.

Robert Thom's directorial debut ambitiously tackles themes of generational conflict and personal disillusionment, with avant-garde visual elements that reflect Tara’s fragmented psyche. Nonetheless, the character of Bogart proves tiresome due to his excessive posturing, reducing believability in his seductive power over Tara and Astrid. Though the film attempts to shock with its depiction of the temptations of sex, drugs, and rock n' roll, it ultimately falters under the weight of its extended runtime and lack of dramatic substance. "Cult of the Damned" may hold intrigue for those interested in 1960s counterculture, but its overall impact is diminished by its slow pacing and overwrought characterizations.

"Angel, Angel, Down We Go," also known as "Cult of the Damned," encapsulates the tumultuous spirit of the late 1960s with its bold political commentary, references to the Vietnam War, and an infusion of symbolism. The casting of Holly Near as Tara Nicole stands out, lending authenticity to the film given her nuanced portrayal amidst personal struggles. Notably, the movie delves into sensitive themes such as depression and addiction through its characters, although these attempts at profundity are sporadic. Instead, Robert Thom’s direction leans heavily on visuals and stylistic choices, sometimes at the expense of storytelling cohesion.

The essence of the film lies in its exploration of generational conflicts and societal changes. Thom endeavors to illustrate these themes through a blend of music, political ethos, and the stark reality of war. While the narrative's ambition is commendable, it often feels disjointed and secondary to the film's aesthetic presentation. The Blu-ray release showcases the film's vibrant yet chaotic visuals adequately, though not without some technical shortcomings in both video and audio quality. These issues, however, do not significantly detract from the overall viewing experience.

In conclusion, "Angel, Angel, Down We Go" isn't a casual watch; it’s a provocative piece that stirs discomfort and contemplation. The Blu-ray presentation does justice to its unique visual style but be aware of occasional technical hitches and minimal extras. For those intrigued by this forgotten gem of the shock-and-awe era, a rental might be more prudent than a purchase.