The Oscar Blu-ray Review

Kino Lorber's presentation of "The Oscar" on Blu-ray, marked by an AVC encoded 1080p transfer in 1.67:1, delivers a visual experience rooted in technical finesse. The newly touted 4K restoration significantly elevates the film's appearance, providing it with striking fine detail, especially noticeable in the lavish Academy Award-nominated costumes by Edith Head. Grain is handled organically, adding to the filmic texture without overwhelming the visual clarity. However, the transfer is not devoid of imperfections. Specific scenes, like a notable one between Hymie and Laurel, exhibit degradation with visible scratches and reduced detail resolution. The color temperature also fluctuates, rendering flesh tones variably purplish or brown. Despite these inconsistencies, the overall densities and saturation remain robust, contributing to a visually engaging experience.

The Blu-ray boasts an impressive color palette that remains accurately saturated throughout most of the film. Presented at 1.66:1, some viewers might find the framing unconventional but acceptable within the context of classic cinema. Sharpness generally excels, particularly in sequences highlighting Joseph Ruttenberg's Oscar-winning cinematography for glamour close-ups. These close-up shots are noticeably more flattering and stand out against an impeccably restored backdrop. Yet, sporadic scratches through the middle of certain images slightly distract from the otherwise crisp visuals. Collectively, this restoration shines in its commitment to detail and color accuracy, albeit with minor detracting moments.

The Blu-ray audio presentation of "The Oscar" features a DTS-HD Master Audio 2.0 mono track that capably reproduces the film’s often laughable dialogue and showcases Percy Faith’s memorable score. Faith’s orchestrations, executed by Jack Hayes and Leo Shuken, deliver the lush string sound the composer is known for, particularly in cues that feature "Maybe September." While some music choices may seem unusual, such as the absence of a sleazy saxophone during Laurel’s strip scene, the audio remains full-bodied throughout the film. Certain pieces of Hymie’s narration come across as boxy, but this is a minor issue in an otherwise robust audio track.

Overall, the DTS-HD Master Audio 2.0 mono track offers commendable clarity and balance. Dialogue is crisply recorded, seamlessly blending with Faith’s score and various sound effects to create a cohesive auditory experience. Notably, age-related anomalies such as hiss, crackle, flutter, or pops are absent, ensuring a clean and enjoyable listening experience. A noteworthy detail is the party scene where Frankie meets Kay, featuring a live jazz combo that adds authenticity to the film, including an evident live piano performance.

This proficiently mixed mono track generally satisfies the expectations of audiophiles and casual listeners alike, preserving the integrity of the original sound while enhancing the overall viewing experience.

The Blu-Ray of "The Oscar" boasts a rich array of extras that enhance the viewing experience with insightful and entertaining content. Among the highlights are two distinct audio commentaries. The first is a thoughtful and analytical discussion by film historians Howard S. Berger, Steve Mitchell, and Nathaniel Thompson, who provide an enriched understanding of the movie's context and production. The second commentary features Patton Oswalt, Josh Olson, and Erik Nelson, delivering a more irreverent and humorous take, often poking fun at the film and its actors. Additional trailers for other Kino Lorber Studio Classics releases are also included, offering a glimpse into other cinematic gems available from the studio.

Extras included in this disc:

• Audio Commentary by Patton Oswalt, Josh Olson, and Erik Nelson: A humorous and irreverent analysis.
• Audio Commentary by Film Historians Howard S. Berger, Steve Mitchell, and Nathaniel Thompson: A reasoned and fair examination of the film.
• Kino Trailers: Includes trailers for "Portrait in Black", "Foxfire", "A Farewell to Arms", "Madame X", and "Female on the Beach".

Russell Rouse’s The Oscar plunges into the depths of Hollywood's deceitful glamour with an ensemble cast that’s both a hallmark and a hindrance. While the film pitches itself as a masculine counterpart to All About Eve, it falls short with its exaggerated soap-opera antics and turgid narrative. The story is framed around the ruthless Frankie Fane (Stephen Boyd), whose unscrupulous ascent in the film industry is recounted by his devoted friend Hymie Kelly (Tony Bennett, in his only dramatic role). This character-driven melodrama showcases Fane’s manipulative journey, impacting everyone from his devoted friend Hymie to a slew of high-profile cameos that include Bob Hope, Frank Sinatra, and Hedda Hopper, lending an air of authenticity to the convoluted plot. Notably, Eleanor Parker stands out as drama coach Sophie Cantaro, delivering a performance that adds gravitas amidst the campiness.

Narratively, The Oscar leans heavily on flashbacks to unravel Fane’s unprincipled climb, peppered with tawdry showbiz clichés and rife with over-the-top monologues that might challenge modern audiences' suspension of disbelief. Characters like the fashion designer Kay Bergdahl (Elke Sommer), crooks portrayed by Broderick Crawford and Ernest Borgnine, and a slithery private investigator contribute to the film’s soapy texture. Despite heavy utilization of Hollywood royalty for cameos and supporting roles, the film's ambition often stretches beyond its grasp.

Ultimately, Stephen Boyd's portrayal of the self-serving Frank Fane maintains an unsettling magnetism. The supporting cast members—particularly Milton Berle as agent Kappy Kapstetter—excel in their roles, providing the film occasional flashes of genuine dramatic engagement. Yet, despite these merits, The Oscar remains more a curiosity of Hollywood excess than a timeless classic, worthy more of scholarly dissection than artistic admiration.

The Blu-ray release of "The Oscar" presents a classic 1966 film that, despite its melodramatic tendencies and eccentric charm, remains an engaging piece for certain cinematic enthusiasts. This remaster showcases Russell Rouse's directorial effort, capturing the glitz and grit of Hollywood with a somewhat overwrought narrative centered around an intriguing antihero. Notably, the film bagged two Academy Award nominations for Art Direction and Costume Design, testament to its high production values and visual appeal typical of Old Hollywood.

Key highlights of this release are the exceptional soundtrack contributions by acclaimed songwriters Ray Evans and Jay Livingston. Their creations, including the songs "Maybe September" and "The Glass Mountain," add a compelling emotional layer to the film and serve as a redeeming quality amid its often criticized plot. The music direction by Percy Faith, while not officially recognized during award season, remains a standout feature, enhancing the film's overall atmosphere and offering a nostalgic aural experience.

Overall, technical merits of this Blu-ray release are solid, with improved audio and visual fidelity ensuring a viewing experience that aligns with modern expectations. The film itself may appeal to those who enjoy the campy, so-bad-it’s-good echelon of cinematic history or relish revisiting the star-studded, glamour-heavy landscape of 1960s Hollywood.

Many years ago I was both thrilled and kind of intimidated to find out that multi-Oscar winning songwriter Ray Evans was in the audience of a theater piece I was conducting. After being introduced to him during intermission, I asked if I could introduce him to the audience, which he happily agreed to. After that introduction, I launched into "Maybe September," one of two absolutely gorgeous songs Mr. Evans provided the lyric to for this film with his frequent collaborator Jay Livingston (the other one is "The Glass Mountain"), and I was more than pleased when Mr. Evans told me later that my piano playing would have passed muster with Percy Faith. "The Oscar" kind of humorously did get two Academy Award nominations (for Art Direction and Costume Design) despite the general perception of it being a pretty lame movie, but Faith's music wasn't recognized, sadly. "Maybe September" evidently made it to the short list of Best Song nominations that year, but not to the final cut of the five eventual nominees, and I have to say from this particular fan's perspective, it certainly was more deserving of a nomination than "The Ballad of 'Cat Ballou" (ironically co-written by another Livingston, Jerry, who is not related to Jay that I know of). The movie itself may be a mess, but for those who kind of like train wreck viewing experiences like this, at least you'll have a nifty soundtrack to listen to. Technical merits are solid for those considering a purchase.