英伦战火/英伦浩劫 Fire Over England 1937 720p BluRaycd x264-LolHD 5.87GB

9 K0 o2 Y; `& w7 o) c, [3 H, X2 i◎译　　名　英伦浩劫/英伦战火
, ~/ M* m. M* k7 M◎片　　名　Fire Over England
◎年　　代　1937
◎国　　家　英国
◎类　　别　冒险/历史/爱情/战争
◎语　　言　英语
◎字　　幕　无字幕
* I% o0 P0 A5 j& _: b; I- a◎IMDB评分 6.7/10 (192 votes)
◎IMDB链接 https://www.imdb.com/title/tt0028872/
◎文件格式　X264 + FLAC
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◎文件大小　1CD 5.87 GB
◎片　　长　1h 29min
◎导　　演　William K. Howard
◎主　　演　费雯丽 Vivien Leigh .... Cynthia
9 T' J2 u' a3 B5 d4 [! Q1 }　　　　　　詹姆斯·梅森 James Mason .... Hillary Vane (uncredited)
# d0 d) t4 k( m% Q% f/ `) f2 s3 ~　　　　　　劳伦斯·奥利维尔 Laurence Olivier .... Michael Ingolby
  i" C1 I3 }: h4 e% f+ x　　　　　　Evelyn Ankers .... Lady-in-Waiting (uncredited)
　　　　　　Leslie Banks .... 'Robin', the Earl of Leicester
7 s& S9 f; r) j　　　　　　Donald Calthrop .... Don Escobal
　　　　　　Charles Carson .... Adm. Valdez
5 m3 j. v1 j$ `　　　　　　Graham Cheswright .... Mr. Joseph Maddison (uncredited)
　　　　　　Francis De Wolff .... Sir James Tarleton (uncredited)
1 \- P3 J; p0 P$ q　　　　　　Tamara Desni .... Elena
　　　　　　Howard Douglas .... Lord Amberley (uncredited)
8 U/ |6 H2 N6 Z/ v# X　　　　　　Franklin Dyall .... (uncredited)
　　　　　　A. Corney Grain .... Hatton (uncredited)
　　　　　　Laurence Hanray .... French Ambassador (uncredited)
0 ?5 @4 f' l4 r　　　　　　Lyn Harding .... Sir Richard Ingolby
* K7 n+ {1 S2 o◎简　　介

3 U0 o# t8 L) G& S! r( o2 Q1587年，英国和西班牙争端不断。一艘英国军舰被西班牙舰队俘虏，舰长被杀，其子迈克尔被西军上将瓦德斯所救。后迈克尔在瓦德斯之女的帮助下，回到了英国，向女王报告了英国内部叛党情况，女王不计前嫌，感召叛徒，大破了西班牙海军的无敌舰队。

1. Fire.Over.England.1937.720p.BluRayCD.x264-LolHD
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3. https://www.imdb.com/title/tt0028872/
   
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5. Length..............: 1h 29min
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6. Video...............: 988x720 (X264 @ 23.976fps)
   
7. Bitrate.............: 9396Kbps
   
8. Audio...............: FLAC
   
9. Language............: English
   
10. Subtitles...........: N/A
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11. Genre ..............:  | Adventure

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# J, ~! J% b6 N% I: x* B' d6 ]Cohen Film Collection has thus far in its relatively short existence been a reliable label for excellent transfers of some vintage movies, and the fact that Fire Over England's AVC encoded 1080p transfer in 1.33:1 begins with a title card proclaiming that it's the result of a joint restoration by both Cohen and the vaunted British Film Institute, will no doubt raise expectations accordingly.  Some may therefore be a little surprised by the look of this transfer, and some context is necessary to understand why it looks like it does.  The biggest issue here was the deplorable condition of the source elements.  Cohen and the BFI were actually able to get quite close to an original negative here by utilizing a 35mm duplicating positive.  But even that was in pretty horrible shape, including huge variances in grain, contrast, and an odd fringing anomaly which Cohen was actually able to trace back to all surviving original elements, evidently the result of how the original negative was stretched while being pulled through the gate while filming took place.  

3 O1 }# ]& x1 a2 [* nI would just like to take a moment to both thank and commend Cohen for its absolutely first rate response to my questions about Fire Over England, for I was not only dealt with extremely kindly by Cohen, I was given really unprecedented access to information about Cohen's restoration processes.  Rather incredibly, not only were copious amounts of useful information imparted to me, the British lab handling the restoration emailed me as well and in a sign of the "above and beyond" approach this niche label took with regard to my inquiries, they actually sent me long snippets of the original source elements so that I could see the shape they were in and what the restoration team had to work with.  All I can say is, this kind of responsiveness is incredible and a sign of how seriously Cohen takes its releases.  

  ~  o9 m' [- P" W; dTo quote the email from the lab which was sent to me:  The source material was of poor quality and featured heavy amounts of grain, with any optical or shots featuring model work being even worse. The grain was reduced, but particular effort was made not to remove any significant detail and the end result is representative of the detail contained in the source material. Many sections also contained vastly different levels of grain including the aforementioned opticals, so we have attempted to try and tie the different parts of the film together by keeping a fairly consistent look throughout. The source element also looked generally very rough and not pleasant to watch, this also influenced the level of grain reduction applied.  

Distortion and warping were also a major problem. This meant that normal stabilisation was not enough as it only locks the image effectively using 1 point. So multiple points had to be tracked in nearly every scene to remove or at the very least reduce this warping. Correcting this does however in my opinion make a dramatic difference when viewing the film as the image is now very solid with no strange movement distracting your eye.  
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  E8 S# A0 [- [1 mFlicker and density fluctuation was also present throughout and had to be corrected by running both an automated process and then correcting it by manually specifying areas to de-flicker and masking any areas of the scene that contained heavy movement. The grain reduction also helped to smooth out any flicker that was left.  

In terms of clean up every scene was peppered with both positive and negative film dirt. This was corrected with a mixture of automated passes and frame by frame fixing and checking of the material. Other defects such as scuffing, scratches, splices, glue, tears and missing frames were present in multiple sections and these were all repaired manually. Some scenes featured nearly all these problems and have undergone extensive reconstruction to save them.
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) X9 d( b0 H# iAnd so finally, let's deal with the image and how some are going to probably react to it.  Has there been noise reduction?  Obviously.  Some viewers are probably going to feel it has been too liberally applied, and admittedly there are some very minor anomalies present here, including the quick disappearance of Morton Selden's beard in one shot that I'm attributing to both denoising as well as overblown contrast.  There is not very much grain here, aside from multi-pass opticals, where it's still quite evident.  And there are still some noticeable contrast issues, especially in the early going, where things look slightly blown out some of the time.  

8 E* y$ I7 N' @Now, I have seen typical broadcast prints of Fire Over England ever since I was a child, and there is absolutely no denying they have by and large been absolutely hideous looking; some were obviously sourced from inferior 16mm prints and even those coming from 35mm were frequently full of pretty bad damage, as were the snippets of the source elements used for this transfer which Cohen kindly sent on to me for review purposes.  Therefore I personally contend that Cohen and the BFI did the best job they could under what were probably very difficult circumstances.  Most of the issues some viewers are going to have with this transfer originated with the elements rather than solely with the ameliorative efforts made to correct them.  The good news is that the image, while soft, has good overall clarity.  Whatever clean up efforts have been applied to the source elements have more or less completely taken care of any age related wear and tear, and in fact the opening British censor card, credits and then the text cards that offer some explanatory background look like they were created yesterday.  There is virtually no sign of blemishes throughout this presentation.  This is yet another example of how important proper film preservation is.  Without decent archival elements to work with, results can only go so far, but by and large, Fire Over England is quite a commendable effort.



4 @2 f2 u# J" I& aFire Over England's uncompressed LPCM Mono track shows typical slight distortion and midrange crackling in the music underscoring the main credits sequence.  After that, aside from some minor amplitude shifts that crop up occasionally, things are remarkably clear and trouble free, including surprisingly little hiss (it sounds like significant noise reduction was applied to the silent sections of the film, for there's a slight but perceptible uptick in hiss surrounding the spoken elements).  Fidelity is quite good, especially once the opening underscore has passed.
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