Audie Murphy Collection IV Blu-ray Review

The video presentation in the "Audie Murphy Collection IV" Blu-ray set is notably inconsistent, reflecting the variable history of film preservation efforts. "The Kid from Texas" suffers the most, with its transfer marred by significant color timing issues and stark inconsistency from shot to shot, ranging from washed out and overly bright to dark and drab. The print frequently exhibits color bleaching and severe purple hues, especially around optical effects, suggesting either unavoidable limitations of available elements or missteps in the transfer process. Although film grain and general detail are present, the presentation overall is plagued by heavy signs of aging, making this transfer one of the weakest in recent deep-catalog releases.

Conversely, "The Cimarron Kid" and "Drums Across the River" fare considerably better. Both are presented in high definition in their original aspect ratios ("Cimarron Kid" at 1.33:1 and "Drums Across the River" at 1.85:1), with faithful film grain retention, sharp detail, and vivid color reproduction. "The Cimarron Kid" exhibits rich primaries, solid black levels, and a filmic texture, though occasional issues with three-strip Technicolor alignment and minor instances of dirt or scratches remain. "Drums Across the River" stands out as the most successful restoration in the set, offering excellent sharpness, natural color saturation, and an overall clean cinematic look—though even here, transitions occasionally bring noticeable shifts in color and some speckling.

Overall, the set demonstrates both the rewards and challenges of catalog film restoration. While "The Kid from Texas" disappoints visually, the other two features deliver strong HD presentations that should offer a satisfying experience for fans and collectors, despite some isolated age-related flaws.

The audio presentation of the "Audie Murphy Collection IV" Blu-ray titles is anchored by DTS-HD Master Audio 2.0 mono tracks across all three films, delivering impressive fidelity given their vintage origins. Dialogue is notably clear throughout, free from muddiness or electronic artifacts, with the only intelligibility challenges stemming from thickly accented performances rather than any limitations in the transfer. The soundtracks—featuring music contributions from noted composers such as Frank Skinner, Daniele Amfitheatrof, Miklós Rózsa, Hans J. Salter, Paul Sawtell, Walter Scharf, Henry Mancini, and Herman Stein—are robustly rendered, with title music and stock cues showcased with solid presence and dynamic range appropriate to the era.

Technical imperfections are minimal and non-intrusive. While faint traces of hiss, crackling, or popping occasionally surface, these artifacts are infrequent and never rise to the point of distraction, ensuring an immersive listening experience. Refinement and clarity mark these sonic presentations, signaling a careful and effective restoration process. Optional English subtitles are provided for accessibility.

Overall, the audio mastering on this release faithfully preserves the original mono intent while maximizing available fidelity. For enthusiasts of classic Westerns and Audie Murphy’s work, these represent the cleanest and most enjoyable home video audio presentations the films have yet received.

The extras offered in the "Audie Murphy Collection IV" Blu-ray deliver a well-curated suite of commentaries and supplemental trailers that provide valuable historical context and deep production insights for each feature. Each primary film is accompanied by a thoroughly researched audio commentary—one led by Gary Gerani and others by C. Courtney Joyner and Henry Parke. These tracks delve into the biographical, cinematic, and historical nuances, including comparisons between Hollywood portrayals and actual Western history, as well as placing the films within the broader context of their directors' careers. Commentary on industry trends, such as the impact of "Broken Arrow" on depictions of Native American affairs, adds scholarly depth. The inclusion of both original theatrical trailers and comprehensive KLSC trailer galleries round out a package well-suited for fans and historians alike.

Extras included in this disc:

• Audio Commentary by Gary Gerani: In-depth analysis of "The Kid from Texas," including production notes and historical context of Billy the Kid.
• Audio Commentary by C. Courtney Joyner and Henry Parke: Critical discussions on "The Cimarron Kid" and "Drums Across the River," exploring film history, directorial impact, and genre trends.
• Theatrical Trailers: Original promotional trailers for all main features.
• KLSC Trailer Galleries: Bonus trailers for related Western titles in the studio’s catalog.

The three films in "Audie Murphy Collection IV" showcase the early and rapidly evolving talent of Audie Murphy within the Western genre, offering a nuanced look at his screen persona and the progression of mid-century Universal Westerns. "The Kid from Texas" (1950) marks Murphy's debut as a Western lead, depicting Billy the Kid with a deliberate, almost procedural pacing that emphasizes historical detail, albeit with creative liberties. The documentary-style approach supported by Charles Van Enger's cinematography captures the Southern California landscape standing in for New Mexico. Though the film is sometimes slow and expository, Murphy's compelling presence—despite his greenness at this stage—helps anchor the narrative, supported by a robust ensemble cast and narration that fills in key gaps.

Advancing two years, "The Cimarron Kid" (1952), directed by Budd Boetticher, elevates both the material and Murphy’s performance. With an 84-minute runtime, the film effectively balances action with meaningful character development as Murphy’s Bill Doolin is gradually drawn into infamy by association. The script and Boetticher's direction give weight to the character arcs while allowing Murphy to demonstrate a notable leap in skill, handling the innocent-outlaw transformation with restraint. Cinematographer Charles P. Boyle leverages Technicolor to full effect, adding visual richness, despite the recognizable California locales doubling as Kansas and Oklahoma.

Completing the set, "Drums Across the River" (1954) sees Murphy in a more complex light, navigating personal prejudice and broader conflicts involving Ute Indians and gold-hungry miners. Nathan Juran’s direction is efficient and imbues the B-movie template with above-average drama and sympathetic treatment of Native American characters—a rarity for the period. Harold Lipstein’s cinematography stands out for convincingly recreating Southwestern Colorado, while a cast led by Walter Brennan provides substantial support as Murphy’s dramatic range comes more fully into focus. Collectively, these films reflect Universal’s evolving Western formula while concurrently tracking Murphy’s maturation into a credible and compelling leading man.

The Audie Murphy Collection IV brings together three westerns—Drums Across the River, The Cimarron Kid, and The Kid from Texas—in a Region A Blu-ray package that demonstrates Kino’s ongoing commitment to rescuing classic genre films from obscurity. Technically, Drums Across the River stands out with a strong 1.85:1 widescreen transfer in Technicolor, offering accurate colors and respectably sharp visuals. The Cimarron Kid also benefits from an excellent video transfer, maintaining clarity and depth expected of quality Blu-ray releases. In contrast, The Kid from Texas arrives in notably compromised condition; the transfer is serviceable enough to remain watchable but shows considerable wear, which will be noticeable even to less discerning viewers.

Across all three titles, the DTS-HD Master Audio 2.0 mono soundtracks deliver clear and consistent audio performance, aided by optional English subtitles. Each disc includes an engaging and informative commentary track that adds value, offering context on Murphy’s career and the films’ production backgrounds. While the video quality varies significantly within the set, each film remains accessible, with technical strengths ensuring that genre fans can still appreciate their historical and entertainment merits.

Ultimately, Audie Murphy Collection IV caters primarily to enthusiasts of classic westerns and collectors interested in Murphy’s filmography. Though not all transfers meet high-definition standards uniformly, the set remains a compelling acquisition, particularly due to the high quality of Drums Across the River and The Cimarron Kid. Supplemented by worthwhile bonus content and solid audio fidelity throughout, this collection is a commendable effort in classic western preservation—best suited for dedicated fans of the genre and Audie Murphy completists.