冲突/急先锋横扫罪恶城 [蓝光原盘 重制版] Serpico 1973 REMASTERED 1080p BluRaycd AVC LPCM 2.0-OLDHAM 44.82GB

An honest New York cop named Frank Serpico blows the whistle on rampant corruption in the force only to have his comrades turn against him.
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+ o: C, G. W/ p3 h" T% {2 z◎译　　名　冲突/急先锋横扫罪恶城/谢皮科
  z' R4 V+ G* }  K8 h( W◎片　　名　Serpico
) Q  T8 Z, P9 z: L. ^◎年　　代　1973
! {2 n+ Z, d( c2 c- ^◎产　　地　意大利/美国
◎类　　别　剧情/传记/犯罪
& K8 l0 M8 v7 \6 ]/ b◎语　　言　英语/西班牙语/意大利语
◎上映日期　1973-12-05
" E0 \2 j6 C& U" A5 P◎IMDb评分  7.7/10 from 108,421 users
7 s3 @" R8 n5 s/ i0 J◎IMDb链接  https://www.imdb.com/title/tt0070666/
◎豆瓣评分　7.7/10 from 2,452 users
$ w& g$ B5 D3 t5 f+ h& G8 z7 ]" q◎豆瓣链接　https://movie.douban.com/subject/1292857/
◎文件格式　x264 + LPCM
( X* Y6 r0 z+ P! M◎视频尺寸　1920 x 1080
3 s4 f4 n* o8 M( N◎文件大小　1DVD 44.82 GiB
* w+ L, x/ H- j; H: n9 ?4 d) V◎片　　长　2:10:12.208 (h:m:s.ms)
% l: i1 ~" L) Y; c9 t! x4 E+ S◎导　　演　西德尼·吕美特 Sidney Lumet
  n' d- Y$ x' C: |◎编　　剧　瓦尔度·绍特 Waldo Salt
　　　　　  诺曼·韦克斯勒 Norman Wexler
, \, H, ?; v: k( u4 r/ `* R◎主　　演　阿尔·帕西诺 Al Pacino
5 q$ V" q3 C: Q) r　　　　　  约翰·兰道夫 John Randolph
　　　　　  杰克·基欧 Jack Kehoe
　　　　　  比夫·麦奎尔 Biff McGuire
6 w4 r) E& _: k5 Y2 c　　　　　  艾伦·瑞奇 Allan Rich
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. V# o- _+ a) {  w◎标　　签　阿尔·帕西诺 | 美国 | 犯罪 | AlPacino | 1973 | 美国电影 | SidneyLumet | 剧情

◎简　　介  

　　法兰克是一个年轻而富有理想的警察，他从巡警开始做起，后来成为卧底警察，虽然他的破案率很高，但他不愿意象其他警察那样收受贿赂，这使他显得和其他人格格不入。这种做法也使他身陷危机，因为他的同事们都与他为敌，且不时地陷害他。当检察组开始调查警局内部的贪污内幕时，他又出面作证，因此更陷入危险之中……
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9 W( }) D# L4 p8 T　　Serpico is based on the true story of a New York policeman who discovers that honesty is not expected to be part of his job. He endures scorn and mistreatment from his fellow cops while attempting to perform his job with integrity. The character of Serpico, combining the best elements of the Establishment and counter-culture, is a tour-de-force for Al Pacino. The film is a breathtaking suspense story and a fascinating character study as well as a memorable statement about government's inherent flaws.
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& A) s; G$ }3 Y, m" P◎获奖情况  
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$ A" g" s3 D# R6 e& E  R　　第46届奥斯卡金像奖(1974)
' h8 h! N* i+ l' N- ^) I5 h　　最佳男主角(提名) 阿尔·帕西诺
# A+ p9 H) K) L　　最佳改编剧本(提名) 诺曼·韦克斯勒 / 瓦尔度·绍特

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3. Disc Title:     Serpico.1973.REMASTERED.1080p.BluRayCD.AVC.LPCM.2.0-OLDHAM
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4. Disc Size:      48,127,921,023 bytes
   
5. Protection:     AACS
   
6. Extras:         50Hz Content
   
7. BDInfo:         0.7.5.9 (compatible layout created by DVDFab 12.0.0.7)
   
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12. Length:                 2:10:12.208 (h:m:s.ms)
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13. Size:                   33,781,567,488 bytes
    
14. Total Bitrate:          34.59 Mbps
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27. LPCM Audio                      English         2304 kbps       2.0 / 48 kHz / 2304 kbps / 24-bit
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35. Presentation Graphics           French          24.026 kbps                    
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36. Presentation Graphics           German          0.271 kbps                     
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37. Presentation Graphics           French          0.314 kbps

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Serpico Blu-ray, Video Quality   
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# y  b2 [8 W7 Q1 S: eFor Serpico, director Lumet reunited with Arthur J. Ornitz, his cinematographer from The Anderson Tapes, who made photographying the crumbling streets of New York something of a specialty in the Seventies with films like Death Wish, Next Stop, Greenwich Village and An Unmarried Woman. In contrast to the energetic, stylized photography displayed in The French Connection just a few years earlier, Lumet and Ornitz framed Serpico's scenes precisely but unobtrusively, so that viewers seem to be casual eyewitnesses to scenes on the street, in offices and precincts or in Frank Serpico's apartment.
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3 \7 z: C) x% ?Warner has delivered an impressive 1080p, AVC-encoded Blu-ray of Serpico, working from a capable Paramount transfer. There are those in the Blu-ray community who are given to opining on the age of a transfer, based solely on examination of the Blu-ray image. I find that to be an exercise in guesswork, absent information from the studio, which was not available here. I also think it's irrelevant. If an image harvest was capably performed, it doesn't matter whether it was done yesterday or years ago. What matters is how the raw data has been handled since then.
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9 G9 G5 ?; Z, j/ O- fThe technical crew that processed Serpico has created a film-like image that is detailed and, for a film of this era, as sharp as it can be without the application of electronic enhancements that would change the film's original look. The image has not been subjected to high frequency filtering or other digital processing that leaves obvious artifacts. The color correction accurately reproduces the flat urban palette of browns, rusts and dull grays and blues in the outer boroughs where Serpico spent most of his career. Brighter hues appear occasionally (e.g., at Frank's graduation, or during a lengthy party scene), but nothing in Serpico "pops", nor should it.
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" d3 H2 i7 `, J' f1 I. X% {3 OEveryone has their own idea of what constitutes "demo" material. For many viewers, it's a brightly colored landscape or a special effects extravaganzas. For me, it's the precision with which a disc like Serpico replicates scenes such as Frank's meeting with Bob Blair in the magnificent but deserted Lewisohn Stadium amphitheater, which was demolished shortly after filming, or the scene where Frank's captain abandons him under the Hell Gate Bridge in Queens, two lone figures in the distance. Such scenes are dramatically powerful, and their drama is expressed in visual terms, which is the essence of cinema. Blu-ray brings that content to the home theater in a way that hasn't been seen since Serpico was in theaters.
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! E0 h) v- X6 ^0 `The image has a natural-looking grain pattern that, I suspect, is finer than that of many release prints. Although there was ample additional space on the BD-50, Warner struck to their usual range of compression, coming out at the high end with an average bitrate of 25.95 Mbps. Certainly the image did not display any artifacts.
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6 w* Y1 A% j6 ]+ r7 R2 u- V* LSerpico Blu-ray, Audio Quality   


Serpico was released in mono, which is available in a two-channel version as Dolby Digital 2.0 (listed as "restored mono") with identical left and right front channels. The default audio track is lossless DTS-HD MA 5.1, which contains a very conservative remix of the mono track that retains the front-oriented nature of the mix, but uses the channel separations to give a little more authority and somewhat deeper bass extension to the score by Mikis Theodorakis (Zorba the Greek). The score is used sparingly, a point discussed by Lumet in the extras. The soundtrack is dominated by dialogue (which is clear), sound effects and occasional source music.

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