What reviews are there for the Arrow Films' Legend Blu-Ray?


REVIEW #1

The Digital Bits review of the Arrow Video Legend Limited Edition Blu-Ray - https://thedigitalbits.com/item/legend-arrow-le-2021-brd


LEGEND: LIMITED EDITION (BLU-RAY REVIEW)

DIRECTOR
Ridley Scott

RELEASE DATE(S)
1985 (October 12, 2021)

STUDIO(S)
Embassy International/20th Century Fox/Universal Pictures (Arrow Video)

Film/Program Grade: See Below
Video Grade: See Below
Audio Grade: See Below
Extras Grade: A+
Overall Grade: A


“The dreams of youth are the regrets of maturity.”

Ridley Scott has always been a filmmaker willing to tackle different genres and give them his own personal stamp, and Legend is no exception. Taking over the stages at Pinewood Studios (one of which burned down during the production) to create some of the most dense and realistic-looking fantastical forests in all of film, Ridley’s Legend was bound to be beautiful, thanks in no small part to his meticulously-orchestrated cinematography and production design. The story follows a sinister plot by the Lord of Darkness (Tim Curry) to cast enternal night upon the world—and seduce the Princess Lili (Mia Sara) in the process—a plot that a young woodsman named Jack (Tom Cruise) attempts to foil. A pure fairy tale from beginning to end, the film doesn’t lend itself to a traditional structure. It’s more of a series of events, one leading to the other without strong narrative propulsion. And depending on which cut of the film you’re watching, it also doesn’t follow the usual story conventions, such as the damsel in distress formula. Thankfully, the film is more interesting than that, drawing upon Judeo-Christian beliefs and images and mixing them with the dark fairy tales of our youths.

In many ways, Legend is not unlike other fantasy films of the 1980s, including Willow, The Dark Crystal, and Time Bandits. But its lasting appeal lies within its visuals and the incredible make-up effects by Rob Bottin. Some viewers may not remember the story of Legend, but they never forget the image of Tim Curry as Darkness. He’s one of the best-realized fantasy characters ever put on film. Gargantuan in size, possessing a mighty set of horns atop a solid red body with hooves and cat-like eyes, he’s indeed a threatening presence. Memorable performances by Curry and Sara add to Legend’s longevity as well, though these actors are given far more to work with than Tom Cruise as Jack. Cruise certainly goes all in, as always, but his character is sadly rendered flat by the theatrical release version.

When Legend finally debuted in the US in 1985, it had an extremely lean 89-minute running time (it’s only 5 minutes longer internationally), with a Tangerine Dream soundtrack replacing the originally-completed score by Jerry Goldsmith. Looking at them side by side, both versions have their strengths and weaknesses, but the US version is far too short and moves way too quickly during key moments. In the early 2000s, DVD producer Charles de Lauzirika and his team finally located a print of what became known as the Director’s Cut. It was a revelation of sorts, improving the pacing and character beats, and allowing the story to breathe in a way that the release version simply did not. For this reviewer’s money, the Director’s Cut with Jerry Goldsmith’s score is the best version available. Tangerine Dream’s work is no less laudable, but it doesn’t blend with the aesthetic as well. Just having the option of watching both versions is a minor miracle.

Legend was captured on 35 mm photochemical film by Alex Thomson, using Arriflex cameras and Cooke Xtal Express anamorphic lenses, and was finished on film at the 2.39:1 aspect ratio. Arrow Video has performed a new 4K scan of the film’s original camera negative, with grading and restoration completed in 2K. The result is presented in 1080p HD on Blu-ray in the proper 2.35:1 aspect ratio. The original camera negative is conformed to the 93-minute international version, but due to licensing restrictions (Disney/Fox owns the rights to that version), it could not be included here. Nevertheless, this source was used to restore the US theatrical version. Sadly though, the elements needed to perform a 4K restoration of the Director’s Cut of the film are currently lost. Only two answer prints for this version are known to survive (these were used for the 2002 DVD restoration and again in 2011 for Blu-ray, both by Universal). That ten-year-old HD master is the source used by Arrow Video for this release, and—as restoration supervisor James Flower recently detailed on Twitter (link here)—this is part of the reason why the film was not considered for a 4K Ultra HD release at this time. It should also be noted that the Director’s Cut was the primary source for color grading on both versions.

This new restoration of the US version of the film is a marked improvement upon the 2011 Blu-ray release, which we reviewed some time ago. The level of detail has been enhanced with added clarity in the image, particularly in the darker portions of the frame. Moderate grain remains but is tighter now, with better encoding. It occasionally spikes in the darker scenes, but never compromises the quality of the visuals. The color palette is lush and much more natural than the oversaturated 2011 release, which looked good at the time but doesn’t hold up to modern standards. Greens, reds, and blues are dialed back a bit and are more nuanced and accurate. Blacks are often deep, with good contrast and shadow detail. The image is mostly clean and stable, outside of a few dated visual effects and the optically-produced opening and closing titles, which were sourced from an interpositive element. All in all, this is a wonderful presentation. The Director’s Cut is similar in terms of color timing, but different in every other category. The generational loss of detail is evident, particularly in darker areas of the frame, but it’s an otherwise pleasant presentation given the parameters. And again, due to the multiple minor edits and changes throughout both versions of the film, using the 4K scan of the international version to create a higher quality version of the Director’s Cut was simply not an option.

Sound is provided for both versions in English 5.1 and 2.0 DTS-HD Master Audio, with optional subtitles in English SDH. They appear to be the same tracks that were found on the previous Blu-ray release from Universal. The 5.1 track spreads out the elements of the film’s original stereo soundtrack, even placing certain sound effects in different positions. Dialogue is mostly front and center apart from Darkness, who has a much deeper and more enveloping voice. The Tangerine Dream score doesn’t fully integrate with the other elements at play, but Jerry Goldsmith’s score soars by comparison. Sound effects are given ample support, from the lightest atmospherics to the booming and cacophonous sounds within the inner sanctum of Darkness’ lair. Low frequency activity is also abundant during these moments. New Atmos mixes might have pushed the sound experience over the top here, but these tracks are quite satisfactory.

LEGEND: US THEATRICAL VERSION (FILM/VIDEO/AUDIO): C+/A-/A-
LEGEND: DIRECTOR’S CUT (FILM/VIDEO/AUDIO): B+/B/A-

Arrow’s Blu-ray release is a 2-disc set, containing the US theatrical version on one disc and the Director’s Cut on the other. Each Blu-ray contains a substantial amount of special features, as follows:

DISC ONE: US THEATRICAL VERSION

Paul M. Sammon provides a new audio commentary, delving mightily into the film’s entire production and post-production history, and detailing many of the differences between the various versions of the film. It’s yet another invaluable commentary from the author and film historian. Remembering a Legend is a new retrospective documentary about the making of the film with production supervisor Hugh Harlow, grip David Cadwallader, set decorator Ann Mollo, co-star Annabelle Lanyon, costume designer Charles Knode, camera operator Peter MacDonald, and draftsman John Ralph. The Music of Legend is a two-part featurette that examines the scores for each version of the film, featuring audio interviews with experts Jeff Bond and Daniel Schweiger, as well as Austin Garrick and Bronwyn Griffin from the band Electric Youth. The Creatures of Legend is a two-part featurette that takes a look at the make-up for the film, featuring audio interviews with illustrator Martin A. Kline and make-up effects artist Nick Dudman. Incarnations of a Legend is a brand new visual essay by critic Travis Crawford discussing the different versions of the film. The Directors is a 2003 documentary that chronicles Ridley Scott’s career. The Television Version Opening is included too, which features an added voiceover to read the on-screen text. And you get the music video for Is Your Love Strong Enough? by Bryan Ferry and David Gilmour, which features footage from the film and was directed by Tim Pope.

DISC TWO: DIRECTOR’S CUT

Ridley Scott’s DVD-era audio commentary offers plenty of additional insights that the other bonus material doesn’t contain. Creating a Myth is the 2000 documentary about the making of the film from the DVD release. Directed by J.M. Kenny, it features several members of the cast and crew, among them producer Arnon Milchan, Ridley Scott, writer William Hjortsberg, make-up effects designer Rob Bottin, production designer Assheton Gorton, editor Terry Rawlings, Mia Sara, and Tim Curry. Original Featurette is an archival making-of used to promote the film in 1985, sourced from a VHS of poor quality. Two Lost Scenes are included: the Four Goblins alternate opening, which is sourced from a VHS workprint, and The Fairie Dance, which survives only in audio form with stills and storyboard images used to recreate it. The massive Storyboards galleries include a total of 1,000 stills to click through. The Alternate Footage is sourced from the international version of the film. Both Screenplay Drafts are complete with 556 pages to click through. Three trailers and four TV spots are included too, as well as a trio of additional image galleries featuring 180 stills. And it should be noted that virtually all of the bonus materials from previous releases has been carried over here.

Each disc is housed in a clear Amaray case with six lobby card reproductions and double-sided artwork, the new artwork by Neil Davies on the front and the original US theatrical artwork by John Alvin on the reverse. Also included is a 60-page booklet featuring cast and crew information, and several essays: Into the Heart of Darkness by Nicholas Clement, Legends of Darkness by Kat Ellinger, Designing Darkness by Simon Ward, the film’s production notes, Making Legend by William Hjortsberg from 2002, Charles de Lauzirika on the Director’s Cut by Andy Dursin from 2002, Ridley Scott on the 2011 Blu-ray Transfers, and restoration information. Included alongside this material are 10 glossy color portraits of the cast, who were photographed by Annie Leibovitz for the film’s original marketing campaign, and a double-sided poster featuring the same new artwork on one side and the original theatrical artwork on the other. Everything is housed within a rigid slipcase featuring the same new artwork.

Despite failing at the box office, Legend has maintained a cult following in its aftermarket life. Ridley Scott’s take on the Brothers Grimm was his last genre project for many years, up until the release of Prometheus. At the time, Scott was still reeling from his previous financial failure (Blade Runner) and seemed more determined than ever to make something audiences would embrace. Unfortunately, that wasn’t in the cards. One can always hope that—with a bit of luck—all of the lost footage from this film will be found someday, thus making a 4K UHD release more possible. But for now, Arrow Video’s beautiful new Blu-ray restoration and release of Legend represents a significant upgrade—certainly the best experience of this film on disc to date, with the most comprehensive special features too. It’s very highly recommended.

(For those interested in owning the international version as well, it’s currently still available on Blu-ray here if you’re so inclined.)

- Tim Salmons and Bill Hunt

(You can follow Tim on social media at these links: Twitter and Facebook. And be sure to subscribe to his YouTube channel here.)

(You can follow Bill on social media at these links: Twitter and Facebook)




REVIEW #2

The Movie Isle review of Arrow Video's Legend Collector's Edition - https://themovieisle.com/2021/10/08/blu-ray-review-arrow-videos-legend-collectors-edition/


Blu-Ray Review: Arrow Video’s Legend (Collector’s Edition) by A.W. KAUTZER on October 8th, 2021

The Films

Theatrical Cut 

The biggest issue with the theatrical cut of the film is that everything in it is inherently designed to be modern; the editing, the music, the pace, the acting. This modernist approach ends up being the stalest and stagnate piece of ‘hero’s journey’ flash and bang.  Yes, there are pieces within the sound and fury of what was concocted that work but not equal to the sum of its parts.  Everything is flattened in this cut of the film.  Jack (Tom Cruise) and Lili (Mia Sara) are cardboard flimsy archetypes that barely register any sort of character.  Darkness (Tim Curry) is literally there to mug and his basic motivations for everything is akin to a jock in a high school film; I want to destroy pretty things and bag the hot chick. 

The most fascinating aspect of the film is the lengths Ridley Scott went to appease a studio with a fairly large chunk of money invested into this project.  It does reveal the commerce part of a director’s job and shows just how adept Scott was at navigating this painful process.  It also indicates why at 80-years-old Scott is still directing big-budget studio product (his newest film is set to debut a month from this review’s writing).  Though it does not help the film in any way in this form.  The film has been stripped of all of its heft, style, and artistry and is only left with what is essentially a 90-minute-long music video for Tangerine Dream (whose score is not as great as their other work). 


Director’s Edition 

The reconstruction of Ridley Scott’s original intention (or close to it) is exactly what you expect from a dark fairy tale from the director of Alien.  Somehow by allowing the film to breathe at an extended length, the editing relaxed, the more traditional score by Jerry Goldsmith (in place of Tangerine Dream) the film takes on a more modern and timeless feel. The film feels less disjointed and abbreviated than the theatrical version.

The director’s edition changes are so far and vast that it’s hard, to sum up in a review.  The feel of the film is one that is more complex, darker, and vastly more sexualized than the theatrical cut.  Jack and Lili benefit greatly from this new version.  The way that their dynamic works with a huge added element of burgeoning sexuality and classism taking a hold that creates a much richer experience.  Lili has begun to understand her power as not only a princess but as a sexual being.  Her scenes with Jack mirror those she has with Darkness.  She tests and pokes and prods him to do her bidding. 

Jack’s hero’s journey is filled a bit more, but Scott understands that this isn’t the meat of the story.  In fact, in the director’s edition, this becomes Lili’s story through and through.  Everything that happens in this version is by Lili’s actions and not something that can be forgiven.  Lili is a fully realized young woman with faults, emotions, complexities, along with the usual strength and intelligence.  
It is rare for a film to allow its heroine to go as deeply into the darkest recesses of a fairy tale without much consequence.  It makes Legend still feel very modern thirty-five years later.  Mia Sara takes all of the interesting shadows of Lili and runs with them.  Part of the reason that Tim Curry’s Darkness works is because Sara is an engaged partner for him.  The conviction Sara brings to her moments with Curry should be studied by any actor that is having to work with effects. 

The way that there is actual sexual chemistry between Lili and Darkness is one of the most fascinating aspects of the film.  Often people champion both Curry and FX Designer Rob Bottin for the work on Darkness, as they should, but forget that without Sara’s performance as Lili, Darkness is nothing but a beautiful nightmare of a design. 

Even the aforementioned design work is allowed to be relished in this longer version.  Not just the Makeup FX work but production design by Assheton Gorton and the cinematography by Alex Thompson which feels is flashed but never seen in the theatrical is showcased here.  Thompson’s work here is the cinematographer’s best with his lighting and a keen eye for composition and movement makes this stage-bound film feel like it was filmed in someplace not imagined.  Gorton’s work is made all the more impressive when one realizes that his first iteration of the set was tragically burnt to the ground.
Legend in this form is more in line with its director’s filmography and the preferred viewing experience. 


The Transfer(s)

If you’re wondering why there’s no UHD release of the film, like this reviewer did, you can read about it all right here. https://collider.com/legend-4k-blu-ray-ridley-scott/

That said the New 2K restoration of the US Theatrical Cut from original materials including a 4K scan of the original negative looks wonderful.  The film’s image has always had a diffuse look and here is no different.  That was the intent.  That said it’s a wonderful crisp image that has no imperfections and is razor-sharp.  The image leans toward a warmer color palette that comes off beautifully on Blu-Ray.

The Transfer of the Director’s Edition appears to be the same one from the Universal 2011 Blu-Ray release.  This version appears to benefit from software and hardware update during the decade since its release.  The deficits are still very present because of the origins of the director’s edition (which you can read about in the beautifully bound book included in this release).  


The Extras

They include the following;

DISC ONE: US THEATRICAL CUT

DISC TWO: DIRECTOR’S CUT

DISC ONE: 

The newly recorded commentary by Paul M. Sammon.  Beginning with his writings on Legend in his Book Close Up. Some of  the details include the various versions that have been released into the world, how Scott cut the film himself in the various versions, the work both in make and the application of the very impressive make-up FX work of Tim Curry, the work of make-up FX designer Rob Bottin, the various artist that Scott referenced in the preproduction of the film, the disaster that occurred at Pinewood studios and how it effected production and specific scenes, the various supporting cast members most who were in heavy make-up prosthetics, the work of Bottin in this film and others, the fantasy genre in the 1980s and up until the release of the film, Legend’s initial release and its rise as a cult film, the work of Jerry Goldsmith score in other versions, the work of Tangerine Dream score in the theatrical, Ridley Scott as a director and a person outside the director’s chair, the first test screening and Ridley Scott’s comment’s about what exactly happened, Tom Cruise doing his own stunts and a funny anecdote about his stunt work here, the work of Stunt Coordinator Vic Armstrong, and much more.  Sammon does a great job of discussing the various versions during the course of the film and how they differ from the theatrical cut.  Much like his commentary track for Arrow Video’s Dune, Sammon’s track is deeply researched and highly informative. 

Reconstructed isolated score by Tangerine Dream (89:29) – this archival alternate track from 2002 runs over the course of the film and represents Tangerine Dream’s FULL SCORE with full musical cues.  It is stated before you begin the track that it will oftentimes not sync up with the scene because of these extended compositions. 

Isolated music and effects track (89:29) – this track contains not only Tangerine Dream but some Jerry Goldsmith score as well.  As the Arrow Video disc explained that this was pulled from a track to allow other countries’ distributors to create an alternate language cut of the film.  

Remembering a Legend (30:45) – is an all-new featurette discussing the making of Legend.  This is a look at the ground-level of the production with the behind-the-scenes crew discussing the in’s and out’s of various aspects of making a fantasy film like costuming, hair, make-up, and other pieces of the production rarely discussed. Some of the details include how everyone was brought onto the project, working with Ridley Scott on the production, the casting Tom Cruise and working with him on the production, working with Tim Curry and the make-up application, the building of the massive forest set at Pinewood Studios, the ensuing fire that occurred on that stage, the solutions that were created by the crew, and much more. Featuring comments by grip David Cadwalladr, costume designer Charles Knode, actor Annabelle Lanyon, camera operator Peter MacDonald, set decorator Ann Mollo and draftsman John Ralph.   The documentary does include some great behind-the-scene photographs.  

The Music of Legend – in this all-new two-part featurette the two different scores are discussed.  Including comments by score experts Jeff Bond and Daniel Schweiger, and Electric Youth bandmates Austin Garrick and Bronwyn Griffin. 

The Creatures of Legend  – in this all-new two-part featurette the make-up effects work is discussed in detail both in design, development, and execution.  Including comments by Illustrator Martin A Kline and make-up effects artist Nick Dudman. 

Incarnations of a Legend (20:47) – is an all-new visual essay written and narrated by Travis Crawford about the various versions of Legend.  Crawford leaves no stone unturned in the explanation of the variations of the film released and why they came to be.  Some of the details include how Scott had many alt versions of his film, the 10 of his films have been given the director and alternate cuts from Scott, the fantasy film genre at the time in the 1980s (including a little joke about Clash of the Titans), the release of the film in the various territories and how this connected to the changes, the reviews of the film, the fact that Fox and Universal shared release (which contributed), and more.  There is a great use of split-screen examples of scenes to help understand the various versions.

The Directors: Ridley Scott (58:33) – this documentary from 2003 from the TV series The Directors focuses on Ridley Scott’s career up until that point.  

Television Version Opening (1:26) – an added voiceover for the television cut of the film. 

Music Video: Is Your Love Strong Enough? (5:23) 


DISC TWO: 

The archival commentary by director Ridley Scott is as great as all of the director’s commentary.  Like his other commentary the director essentially gives a master class.  Opening with his love of Coteau’s Beauty and the Beast and a screening of his own personal print of it with writer William Hjortsberg.  Some of the details include the actual build of the massive sets and how he came to the decision of making this film set bound rather than on location, the troubles with that set building, development of the script, the visuals, editing, the issues in post-production and how he navigated those, the differences in the original script the rewritten script the first cut the final theatrical and now the director’s cut, working with Rob Bottin, Jerry Goldsmith’s score, the casting of Tom Cruise and what it was like to work with him at an early part of his career, the influence of early Disney animated features especially Fantasia, the casting of Mia Sara, working and casting David Bennent of Tin Drum fame, the paring down of the script and specifically deleted action scenes, the art direction and production design of the film, an unused concept of Lili turning into a Cat as she is tempted by Darkness, Scott’s theory on texture and how to achieve it, the end of the film and so much more.  If you haven’t heard this track and are a Scott fan or a fan of this film, do yourself a favor and listen to it.

Creating A Myth: Memories of Legend (51:03) – is a making-of documentary from the 2000 DVD release.  This is a slick and informative making-of directed by Charles de Lauzirika during the heyday of great bonus features.  The featurette is divided into development, preproduction, production, postproduction and release, and critical reception.  Featuring comments by director Ridley Scott, producer Arnon Milchan, screenwriter William Hjortsberg, actor Mia Sara, actor Tim Curry, make-up FX supervisor Rob Bottin, editor Terry Rawlings, production designer Assheton Gorton and more.

Original promotional featurette (9:44) – this original production featurette from 1985 is an utter delight to watch.  Arrow Video states at the beginning that this was sourced from a VHS duplicate copy and has all of the troubles inherent in the format.  Which only adds to the charm of this vintage EPK.  There’s a bunch of great fly-on-the-wall b-roll footage here including some great moments with off-camera moments with Curry in Darkness outfit, Scott directing, and a notably absent Tom Cruise.  

Lost Scenes – Two scenes are presented here both items are sourced from a VHS Dub that was discovered in 2001. 

Alternate Opening: Four Goblins (10:35) – a completely new opening with a different beginning with the demons having chase a spectral of light.  

The Fairie Dance (3:06) – the oft-discussed fairie dance scene which is not here, it is still considered lost, but recreated based on Terry Rawlings’ finding the audio from the scene.

Storyboards – is divided into 8 sections.  Each comes with its own written introduction setting up context not only for the story but also why and who created these storyboards.  This section is navigated using your chapter stops buttons on your remote.  Note rather than a run time the number denotes the number of stills in the gallery.

Alternate footage (9:00) – is from the overseas release that was placed in the overseas versions to make up for footage removed from the director’s cut. 

Screenplay Drafts – two versions of the screenplay written by William Hjortsberg have been included here the first draft and final shooting script.  The scripts can be navigated by using the chapter stop buttons on your remote. 

Trailers and TV spots

Still galleries – divided up into three sections

The Final Thought 

Legend in its director’s edition form has been one of Ridley Scott’s great films, Arrow has given it a new paint of coat with this massive deluxe edition.  HIGHEST POSSIBLE RECOMMENDATIONS!!! 

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