The Last Time I Saw Paris Blu-ray Review

The Warner Archives Collection's summer release of "The Last Time I Saw Paris" offers a commendable video presentation on a BD-50 disc featuring an MPEG-4 AVC encode, utilizing a crisp 4K restoration from the original Technicolor camera negatives. This meticulous restoration showcases an image with a pleasingly thick texture and an appreciable grain, which retains the authenticity of the period. The colors, particularly Elizabeth Taylor's wardrobes, are vibrant and leap off the screen in 1080p, even as the surrounding scenes demonstrate a palette filled with warm browns and pastels. The average video bitrate is recorded at 34916 kbps, ensuring a smooth and consistent viewing experience.

The film's original theatrical aspect ratio of 1.75:1 is preserved with precision in this 1080p transfer, highlighting detailed sharpness and remarkable clarity across all visual elements. Van Johnson’s freckles, along with textures in hair, clothing, and furnishings, are rendered with astonishing acuity. The lush Technicolor presentation enhances realistic skin tones and vivid eye colors throughout the film. Historical crowd scenes feature footage specifically shot for this MGM production, enhancing the authenticity of LA's Parisian portrayal. Additionally, the disc includes thirty-two meticulously divided scene selections for this 116-minute feature, allowing viewers to navigate effortlessly through this classic cinematic experience.

The Blu-ray audio presentation of "The Last Time I Saw Paris" features a DTS-HD Master Audio Dual Mono track at 1776 kbps and 24-bit quality. While the inclusion of a DTS-HD 4.0 Surround mix would have been ideal to replicate the film's original 4-track stereo master in Perspecta Sound, the provided 2.0 monaural mix is robust. The main title begins in an immersive, lush stereo that promises much, but the film transitions into a solid mono mix. Notably, there is a minor vocal dip in the dialogue between Charles and Helen during the amusement park scene at timestamps 1:20:02 and 1:20:28, although this issue is isolated.

The audio mix excels with well-recorded and skillfully blended dialogue, background score, and sound effects, maintaining clarity throughout the majority of the film. The absence of age-related audio anomalies such as hiss, crackle, pops, or flutter is commendable, underscoring the technical proficiency of the sound restoration work. Jerome Kern and Oscar Hammerstein's contribution to the film’s music is highlighted by Odette Myrtil's rendition of the Oscar-winning song "The Last Time I Saw Paris," providing an engaging and clear auditory experience. Optional English SDH subtitles also enhance accessibility for viewers.

The extras on the Blu-ray of "The Last Time I Saw Paris" offer an engaging glimpse into the film's era with a mix of cinematic nostalgia and classic animation. The popular inclusion of the original theatrical trailer provides a raw, vintage look at the movie, featuring prominent and supporting characters in a 1.33:1 aspect ratio. While not restored, the trailer retains its authentic charm despite visible dirt and film artifacts. Additionally, the classic Tom & Jerry cartoon, "Touché Pussycat," presented in CinemaScope, shines with a clean, vibrant transfer, enhancing viewer enjoyment of this 1954 Hanna-Barbera gem. It is accompanied by a Dolby Digital Dual Mono mix which adds to the auditory experience. These extras, though limited in number, are well-curated to complement the film and enhance the overall viewing experience.

Extras included in this disc:

• Original Theatrical Trailer: Unrestored MGM trailer with visible artifacts.
• Classic Tom & Jerry short: Touché Pussycat: Clean transfer of a 1954 cartoon in CinemaScope.

Richard Brooks' "The Last Time I Saw Paris" is a melodramatic adaptation that benefits immensely from Elizabeth Taylor's captivating presence and performance. Set in post-World War II Paris, this film takes liberties with F. Scott Fitzgerald’s narrative "Babylon Revisited," modernizing its setting while retaining certain thematic elements of nostalgia and consequence. Originally rooted in the Roaring Twenties, the storyline here adopts a more accessible post-war framework. The screenplay, crafted by the Epstein twins along with Brooks, introduces Van Johnson as Charles Wills, whose promising career and love life are compromised by Parisian temptations. While Johnson delivers a strong performance, the chemistry with Taylor falls short of igniting the screen, leaving Taylor to carry much of the film's emotional weight.

Highly praised for her radiance and charisma, Elizabeth Taylor stands out as the film's true star, overshadowing her co-stars in both beauty and substance. Walter Pidgeon's portrayal of James Ellswirth, the opportunistic family patriarch, adds humor to an otherwise heavy narrative, while Eva Gabor and Roger Moore aptly fit their roles as tempting distractions within Charles and Helen's troubled marriage. Donna Reed’s portrayal of Marion Ellswirth suffers from underdevelopment but ultimately benefits from a scene-stealing moment of emotional release near the film’s climax. George Dolenz provides warmth as her spouse, Claude Matine. The film places an emphasis on relationships fractured by ambition, indulgence, and societal pressures.

MGM's production features both Parisian locations and familiar sets, drawing attention to the contrasts between ambition and disillusionment. Jerome Kern and Oscar Hammerstein II’s iconic song lends a pervasive melancholy to the soundtrack, occasionally bordering on excessive repetition. Overall, Brooks' adaptation invites viewers to explore post-war aspirations against a nostalgic backdrop, driven by Taylor’s nuanced depiction of Helen Ellswirth balancing familial duties and personal tragedies. As for Charles Wills, his journey oscillates between self-indulgence and earnest redemption, peaking at moments where Johnson delves compellingly into despair and longing.

Richard Brooks’ "The Last Time I Saw Paris" is a notable postwar melodrama that showcases impressive performances by its lead actors, Elizabeth Taylor and Van Johnson. They manage to elevate an otherwise uneven script, capitalizing on the emotional depth of their characters. While Donna Reed's talents appear underutilized, the ensemble cast, including Walter Pidgeon, George Dolenz, and a young Roger Moore, offer substantial contributions to this MGM production. The narrative loosely adapts Fitzgerald's original work and maintains a degree of charm despite its deviations.

The Warner Archive Collection's Blu-ray release of the film breathes new life into this classic with a remarkable unfiltered transfer from a 4K scan. The video displays superior clarity and detail that surpass previous editions significantly, showcasing the film's rich visual layers and vibrant period settings. The audio presentation maintains clean, lossless quality; however, an additional stereo mix could have enhanced the listening experience further. This release decisively rescues the film from its former public domain status, providing an unparalleled viewing experience that both enthusiasts and first-time viewers will appreciate.

In conclusion, "The Last Time I Saw Paris" stands as a solid recommendation for those interested in classic cinema. The performances, particularly by Taylor and Johnson, imbue the film with enduring appeal, while the Warner Archive's technical enhancements significantly improve the accessibility and enjoyment of this melodrama. Despite a few narrative shortcomings and underused character opportunities, this Blu-ray release offers an engaging entry point for both cinephiles and nostalgic audiences seeking quality restoration work.