大门/火乐焚城/大门乐队 [4K蓝光原盘] The Doors 1991 2160p BluRaycd HEVC TrueHD 7.1 Atmos-COASTER 87.59GB

The story of the famous and influential 1960s rock band The Doors and their lead singer Jim Morrison.
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8 s+ O  h* u* i2 R5 g! E, P0 g! ^◎译　　名　大门/火乐焚城/门/多尔乐队/大门乐队
◎片　　名　The Doors
◎年　　代　1991
* u% V' ^) ^; \/ t◎产　　地　美国
◎类　　别　剧情/音乐/传记
◎语　　言　英语
◎上映日期　1991-02-23
# N7 e$ S* e7 U% w' i◎IMDb评分  7.2/10 from 84,380 users
- s2 {9 Y6 k, N! \9 s◎IMDb链接  https://www.imdb.com/title/tt0101761/
◎豆瓣评分　8.0/10 from 7,944 users
3 H" k! x4 x4 @! n9 `( m( h◎豆瓣链接　https://movie.douban.com/subject/1291846/
: {7 \; b2 N& L5 L6 d4 l◎文件格式　x265 + TrueHD
; W7 o2 w; l1 P* p- `! k9 t! E& H# H◎视频尺寸　3840 x 2160
◎文件大小　1DVD 87.59 GiB
$ a. h; w' ~0 I  ?" N% V7 W◎片　　长　2:20:29.583 (h:m:s.ms)
◎导　　演　奥利佛·斯通 Oliver Stone
. Q/ L; t( K4 R( t) C+ \4 ^6 w* N◎编　　剧　兰道尔·约翰逊 Randall Jahnson
. y2 @$ a2 L: u! \2 f# |　　　　　  奥利佛·斯通 Oliver Stone
1 E" C, w+ n6 G% T' I& ]◎主　　演　方·基默 Val Kilmer
4 W. J6 {7 F7 D  U( T( ^　　　　　  梅格·瑞恩 Meg Ryan
* N$ V1 n1 e$ z& C# N1 q　　　　　  凯尔·麦克拉克伦 Kyle MacLachlan
! @: d5 L/ L$ r+ O9 r: H1 }　　　　　  弗兰克·威利 Frank Whaley
4 i( l& o5 w) u6 P0 f" J　　　　　  凯文·狄龙 Kevin Dillon
　　　　　  迈克尔·维克特 Michael Wincott
　　　　　  迈克尔·马德森 Michael Madsen
9 n8 D. D: I2 G　　　　　  乔希·埃文斯 Josh Evans
　　　　　  丹尼斯·伯克利 Dennis Burkley
　　　　　  比利·伊多尔 Billy Idol
/ A+ Q& J- \2 [& X5 m# Q　　　　　  凯瑟琳·奎南 Kathleen Quinlan
3 p, Y% y7 c7 D　　　　　  约翰·登斯默 John Densmore
. E+ L% o* N. b2 A/ g* ^　　　　　  西恩·斯通 Sean Stone
* O6 a4 H, p" |5 L: Q2 U( R　　　　　  弗洛伊德·怀斯特曼 Floyd 'Red Crow' Westerman
+ G' c0 b. `1 ^6 }6 q8 h7 {　　　　　  韦斯·斯塔迪 Wes Studi
4 ^7 L; z1 N/ [' J　　　　　  史蒂夫·里维斯 Steve Reevis
  J; ]. j3 [1 b# }　　　　　  伯纳德·特尔西 Bernard Telsey
　　　　　  安德鲁·劳厄尔 Andrew Lauer
& Y& f1 ^8 w5 z( a) O　　　　　  胡凯莉 Kelly Hu
. k& J3 {' g1 l1 \$ j% e　　　　　  朱茜·比赛特 Josie Bissett
　　　　　  菲奥娜 Fiona
　　　　　  罗伯特·卢波内 Robert LuPone
　　　　　  保罗·A·罗思柴尔德 Paul A. Rothchild
　　　　　  约翰·卡波迪斯 John Capodice
　　　　　  埃里克·伯登 Eric Burdon
　　　　　  黛比·玛扎 Debi Mazar
　　　　　  马克·摩斯 Mark Moses
6 j1 G* H- [) B; Z! h2 |6 I6 Y　　　　　  弗兰克·米利塔里 Frank Military
2 c( M& b8 y6 i& C" k( V　　　　　  黛伯拉·法奥康纳 Deborah Falconer
) ]- U0 E4 p% u" q- W　　　　　  威尔·乔丹 Will Jordan
　　　　　  山姆·惠普尔 Sam Whipple
- e, v3 q) C7 f: r% E2 h1 a3 F　　　　　  查利·斯普拉德林 Charlie Spradling
7 r1 f4 Q; D( c4 {1 q" x" s, V% h　　　　　  丽莎·艾德尔斯汀 Lisa Edelstein
2 I- B& ?& x; G. H' N8 n　　　　　  埃里克·德拉姆斯 Erik Dellums
　　　　　  米密·罗杰斯 Mimi Rogers
　　　　　  詹妮弗·鲁宾 Jennifer Rubin
　　　　　  保罗·威廉姆斯 Paul Williams
2 O/ t' I# X/ \6 I  [# e% Z$ _9 f　　　　　  科斯塔斯·曼迪勒 Costas Mandylor
　　　　　  克里斯蒂娜·富尔顿 Christina Fulton
$ h" x7 S5 {* t　　　　　  克里斯平·格洛弗 Crispin Glover
　　　　　  克莱尔·斯坦斯菲尔德 Claire Stansfield
　　　　　  卡琳娜·隆巴德 Karina Lombard
　　　　　  克里斯多福·劳福德 Christopher Lawford
' T( ?9 M9 @3 \$ @! e2 `# o　　　　　  劳拉·伊斯特曼 Laura Esterman
) q/ i7 d0 t2 V( ^! y% }　　　　　  比尔·格雷厄姆 Bill Graham
　　　　　  提图斯·维里沃 Titus Welliver
　　　　　  伊格尔·艾·谢里 Eagle Eye Cherry
　　　　　  丹尼·沙利文 Danny Sullivan
- V+ P  g8 m' g' w4 v8 h　　　　　  邦妮·布拉姆利特 Bonnie Bramlett
: x2 n2 u" ~- i  L　　　　　  罗德尼·格兰特 Rodney A. Grant
) f- _2 Y5 T0 \: Q* f: ^* z　　　　　  帕特里夏·肯尼利 Patricia Kennealy
　　　　　  基思·雷丁 Keith Reddin
; m8 R# e7 H" d4 v8 N5 i( x　　　　　  比利·维拉 Billy Vera
  B4 }# w) r$ g& ^+ P, }* T　　　　　  阿兰·格拉夫 Allan Graf
　　　　　  杰克·麦吉 Jack McGee
　　　　　  艾伦·曼森 Alan Manson
. _4 j; o- f3 z# j( s2 c　　　　　  威廉姆·库斯特勒 William Kunstler
( b8 L# W: @4 x* U. Q* |/ j　　　　　  杰德·马杰 Jad Mager
　　　　　  理查德·鲁托夫斯基 Richard Rutowski
　　　　　  阿瑟·布雷默 Arthur Bremer
　　　　　  凯特·布伦南 M.C. Brennan
2 C, m; R$ k8 H! a' O　　　　　  奥利佛·斯通 Oliver Stone
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◎标　　签　传记 | 摇滚 | 美国 | Doors | 音乐 | OliverStone | 奥利弗·斯通 | 美国电影

" ?/ \! W6 y: e8 P8 q◎简　　介   
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　　本片忠实地记述了1960年代美国迷幻摇滚代表乐队——大门乐队的灵魂主唱吉姆·莫里森（方·基默 Val Kilmer饰）从成名到自我毁灭的一生。

　　在电影学校，莫里森结识了喜欢弹钢琴的键盘手雷·曼札克，两人一拍即合，决定组建一支令世界震惊的摇滚乐队：The Doors。很快，莫里森在这里找到了其他两位乐队成员：鼓手约翰·丹斯莫和吉他手罗比·克雷格。不久，大门乐队因《Light My Fire》一跃成名，万千乐迷为之疯狂。在拥有金钱名利诸多光环后的莫里森，却始终无法被任何人真正了解，有人认为他是诗人、艺术家，也有人把他当做疯子、瘾君子。27岁的莫里森最终选择了死亡来结束这段无以伦比的个人传奇。
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　　The story of the famous and influential 1960s rock band The Doors and its lead singer and composer, Jim Morrison, from his days as a UCLA film student in Los Angeles, to his untimely death in Paris, France at age 27 in 1971.
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; j1 o" m( y1 T- g/ {* e# _$ K获奖情况
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% b! x) X1 o$ [/ q& R: s5 v/ K: x　　第82届奥斯卡金像奖(2010)
　　最好真人短片(提名) 詹姆斯·弗林
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3. Disc Title:     The.Doors.1991.2160p.BluRayCD.HEVC.TrueHD.7.1.Atmos-COASTER
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4. Disc Size:      94,044,813,748 bytes
   
5. Protection:     AACS2
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6. Extras:         Ultra HD
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7. BDInfo:         0.7.5.3 (compatible layout created by DVDFab 11.0.3.9)
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11. Name:                   00001.MPLS  
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12. Length:                 2:20:29.583 (h:m:s.ms)
    
13. Size:                   77,987,751,936 bytes
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14. Total Bitrate:          74.01 Mbps
    
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22. MPEG-H HEVC Video       50548 kbps          2160p / 24 fps / 16:9 / Main 10 @ Level 5.1 @ High / 4:2:0 / 10 bits / HDR10 / BT.2020 /
    
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30. DTS-HD Master Audio             French          4503 kbps       5.1 / 48 kHz / 4503 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
    
31. DTS-HD Master Audio             German          3917 kbps       5.1 / 48 kHz / 3917 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
    
32. * Dolby Digital Audio           English         640 kbps        2.0 / 48 kHz / 640 kbps
    
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The Doors 4K Blu-ray, Video Quality   
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Note: Screenshots are sourced from the old 1080p Blu-ray, and this is yet another Lionsgate 4K UHD release where the appearance of the 4K version can be markedly different from the earlier release.
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; l" w+ y, }9 e4 pThe Doors is presented on 4K UHD courtesy of Lionsgate Films with a 2160p transfer in 2.35:1. Before I get into the 4K presentations, I want to take just a minute to address the appearance of the original 1080p Blu-ray. Just sampling both our "official" review and some of the member reviews on the listing page show that that release had a rather wide variance of responses (what else is new?), but all I can say is that for me personally that Blu-ray offered a way over processed look that showed signs not just of sharpening but also of filtering, and so (again) my score above reflects my opinion.
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3 V" z" x1 R4 k. G2 fBoth the so-called Final Cut (2:18:11) and the Theatrical Cut (2:20:29) are included on the 4K UHD disc, and there's really very little difference between the two versions either in terms of content or appearance. The press sheet accompanying this release contains the following information (which is admittedly a bit on the "PR hype" side, and which I'm editing somewhat to focus on technical aspects) on the transfer(s):

Remastered from the original negative that was scanned in 4K 16-bit* on ARRISCAN at FotoKem US, the restoration was managed by L'Immagine Ritrovata in Italy with the close support of Oliver Stone who oversaw the color grading. The 4K release was remastered using Dolby Vision HDR and Dolby Atmos technologies for an unprecedented immersive experience.

This is by and large a very satisfying and often quite gorgeous presentation of a film that virtually wallows in near psychedelic colors a lot of the time. And in fact it's the vividness of the palette that immediately and recurrently struck my eyes throughout this presentation. The film offers a really sumptuous array of reds, oranges and yellows in particular, and the Dolby Vision augmented highlights offer a markedly different viewing experience than the old 1080p Blu-ray. But on top of the now rather eye popping brilliance of the palette there's noticeable uptick in detail levels across the board in the 4K presentation, even in some of the "showier" POV drug addled moments where Stone plays with light and superimpositions of imagery. Black levels are also noticeably improved in the 4K offering, with a concomitant increase in shadow detail in some of the performance material. I've been on record repeatedly as not always liking the look of the grain in shot on film offerings receiving a 4K UHD treatment from Lionsgate, but for the most part, my estimation is the grain resolution here is excellent. There are some rough patches where grain can look yellow and splotchy. The first time it stuck out to me was in the meeting between Jim and Pamela at circa 7:00, but that same quasi-noisy look crops up again in the classroom scene that features Stone himself at circa 9:52 — keep your eyes on the screen covering the blackboard. The beach scene with Jim and Ray Manzarek at circa 17:30 is another example of this coarser appearance. Lastly, during the Ed Sullivan sequence the backstage dressing room material at circa 45:30 has the same roughhewn look to it. (Timings are for the Final Cut, though I'm assuming they'll be more or less the same for the Theatrical Cut, since the edit Stone made is toward the end of the film). All of that said, a lot of this presentation offers a really nice, organic looking fine grain field, and I was especially struck by the precision of sequences like the big "desert" scene, which looks rather precise, though in one of the montages, grain does again spike pretty dramatically. All in all, I found this a really satisfying and beautiful presentation of a film that stylistically speaking at least is one of Stone's more audacious efforts.

*I believe this is the first time I've seen a bit reference in video specs.
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+ u7 \: ^- B' L, }! {. pThe Doors 4K Blu-ray, Audio Quality   

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/ P6 w& \$ }. z3 w5 l2 Q" GThe Doors 4K receives a pretty dramatic upgrade in sonics courtesy of a new Dolby Atmos track. The same press sheet referenced above contains the following information on the mix (I've once again excised some of the more "hype" laden aspects of the verbiage):

The Dolby Atmos mix was created at Formosa Group under the supervision of Dolby and the original sound editors of the film: Wylie Stateman and Lon Bender.

This is an outstanding presentation all the way, with impeccable attention to directionality and some beautiful wafting engagement of the Atmos channels that is perhaps expectedly most noticeable in some of the "live performance" footage, where things like crowd noises envelop the listener. But even in quieter moments, like Jim and Pamela walking outside late in the film, offers discrete placement of sometimes subtle but very realistic sounding ambient environmental effects. While this isn't a nonstop example of "showiness" in terms of original sound design, the musical sequences in particular gain new clarity and immersion in this Atmos rendering, and I can't imagine fans of the film not enjoying this new audio mix.
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