Merrily We Go to Hell Blu-ray Review

Criterion's Blu-ray presentation of "Merrily We Go to Hell" is a technical triumph showcasing the meticulous restoration work done on this nearly 90-year-old film. Presented in its original aspect ratio of 1.37:1 with 1080p resolution and encoded with MPEG-4 AVC, this release benefits from a new digital transfer created in 4K resolution from a 35mm composite duplicate negative. The film features a substantial amount of film grain that is typical of early 1930s movies, enhancing its authentic, film-like feel. Thousands of instances of dirt, debris, scratches, splices, and warps were manually removed using MTI Film's DRS and Digital Vision's Phoenix, ensuring a clean, immersive viewing experience.

The grayscale is finely balanced, with solid black levels and bright whites that create an inviting visual contrast. Darker shadows, although not always optimal, are within acceptable parameters given the period's film limitations. Sylvia Sidney’s shiny gowns and the studio-shot penthouse terrace set demonstrate excellent clarity and dimensionality, showcasing the elegant cinematography of David Abel. Despite some minor density fluctuations and occasional shaky contrast levels, overall image stability and detailed close-ups ensure an engaging visual narrative.

Criterion’s remastering work includes using Avid's Pro Tools and iZotope RX for noise management in the original monaural soundtrack, offering viewers a holistic, restored experience. While minor artifacts such as hairs and hesitant black levels occasionally surface, they are negligible against the backdrop of this otherwise lush representation typical of Paramount cinematography from the era. The grain pattern is consistent and appropriate, contributing to the film's organic appearance. This release ensures that Dorothy Arzner's masterpiece receives the attention it deserves, allowing its visual splendor to shine through with unprecedented clarity and depth.

The audio presentation of the Blu-ray for "Merrily We Go to Hell" features a single standard track: English LPCM 1.0, accompanied by optional English SDH subtitles. The sound quality, derived from a remastered 35mm optical track, is commendable considering the vintage recording technology employed. Dialogue reproduction is particularly impressive, with all conversations remaining clear and comprehensible, which is critical for the film's narrative focus. Incidental music, while occasionally thin, aligns with expectations for films from this era. Notably, sonic effects, such as the impactful crash of a kitchen tray, inject appropriate dramatism without overwhelming the listener. The audio retains some faint surface noise during silent passages, but this minor issue does not detract from the overall viewing experience.

Utilizing advanced tools like Avid's Pro Tools and iZotope RX in its restoration, the Blu-ray's mono track achieves an impressive balance of dialogue, music, and sound effects. Clarity and stability are consistently maintained, though slight fragility in the upper registers becomes noticeable at higher volumes. Despite a subdued hiss in quieter scenes, there are no substantial anomalies to disrupt the audio integrity. The dynamics of the original recording are preserved well, emphasizing the essential dialogue while subtly managing background sounds and incidental music. While the audio clearly exhibits its age, it complements the visual nostalgia of this classic film, ensuring a faithful and immersive experience for audiences.

The extras on the Blu-ray release of Merrily We Go to Hell may be limited in quantity, but they deliver a wealth of insightful and engaging content. The highlights include a comprehensive video essay by film historian Cari Beauchamp, which delves into the career of director Dorothy Arzner, the film's production, and its societal implications. Additionally, the disc features "Dorothy Arzner: Longing for Women," a German documentary that offers an in-depth look at Arzner's life and career with rare footage and interviews. A pamphlet included with the disc provides an essay by film scholar Judith Mayne, offering further context and analysis. These carefully curated materials bring substantial value to this release, making it a must-have for enthusiasts of classic cinema and academic studies alike.

Extras included in this disc:

• Cari Beauchamp: A detailed video essay on Dorothy Arzner’s career and the film’s impact.
• Dorothy Arzner: Longing for Women: A documentary exploring Arzner’s life and professional relationships.
• Leaflet: An essay by Judith Mayne with technical credits and cast information.

Dorothy Arzner's Merrily We Go to Hell (1932) is a pre-Code melodrama that casts a searing spotlight on marital infidelity and strife, offering a candid depiction of human relationships that remains compelling nearly 90 years after its release. The film follows Jerry Corbett (Fredric March), an aspiring reporter with a severe drinking problem, and Joan Prentice (Sylvia Sidney), a naive heiress who marries him hoping her love will save him from his vices. The narrative intricately weaves through their tumultuous relationship, highlighting the strain Jerry's alcoholism and rekindled romance with ex-flame Claire Hempstead (Adrianne Allen) place on their marriage. Sidney’s portrayal of a woman transitioning from adoration to assertiveness while trying to maintain her dignity is particularly noteworthy.

Arzner's direction is bold for its time, utilizing the pre-Code era's leniency to explore themes of open marriage and female sexuality. However, despite its daring content, the film's tone sometimes falters. While the depiction of Joan’s efforts to re-win Jerry’s love is objectively dramatic, it occasionally veers into melodrama, detracting from the gravity of Jerry's alcoholism and the couple’s resulting misery. Comparisons have been made to Adrian Lyne's Indecent Proposal, underscoring that while both films attempt to navigate complex emotional terrain, they occasionally resort to idealistic resolutions that may seem unrealistic.

The performances are a standout, with March delivering a performance that presages his later work in A Star Is Born. His charm belies his character's flaws, creating a complex interplay with Sidney’s resilient Joan. The supporting cast, including notable early appearances by Cary Grant, adds depth to the film, making it a rich viewing experience. Although some aspects might feel dated, Merrily We Go to Hell remains a fascinating study of relationships amid chaos, enhanced by Criterion's Blu-ray release which preserves its technical and dramatic integrity.

Criterion's Blu-ray release of "Merrily We Go to Hell" encapsulates the unique vigor of pre-Code Hollywood cinema. Directed by Dorothy Arzner, the film is an intricate portrayal of a troubled marriage, spiced with considerable dramatic depth and subtle comedic elements. The performances by Sylvia Sidney and Fredric March are compelling and remarkably resonate even decades after its cinematic debut. The Blu-ray is sourced from a pristine 4K restoration, ensuring that the film's visual and auditory experience is elevated to modern standards. The release also includes a selection of valuable extras that shed light on Arzner’s underappreciated directorial contributions during the early sound era.

"Merrily We Go to Hell" stands out as an intriguing artifact from an era when Hollywood had not yet fallen under the restrictive veil of the Production Code. Its narrative embodies a raw and unfiltered glimpse into the mores and challenges of marriages at that time, a sharp contrast to the more formulaic and sanitized stories that emerged post-1934. Criterion does a commendable job of preserving and presenting the film’s intrinsic qualities, supporting them with high-quality video and audio transfers that honor the original craftsmanship. This meticulous approach caters not just to enthusiasts of Golden Age cinema but also to those interested in the evolution of film narrative and construction.

In conclusion, while "Merrily We Go to Hell" may not reach the harrowing depths of later, more pessimistic works like "The Lost Weekend," it remains a significant piece of film history. Criterion's release provides an excellent opportunity to appreciate this near-century-old film in the best possible quality. RECOMMENDED for both longtime fans and those curious about pre-Code cinema.