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An ex-prize fighter turned New Jersey longshoreman struggles to stand up to his corrupt union bosses, including his older brother, as he starts to connect with the grieving sister of one of the syndicate's victims.* ]6 o1 y- G/ z$ }$ M
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' {$ e8 e1 Z8 M9 ~" Q" |◎译 名 码头风云/岸上风云/在江边 , z$ R/ \ T8 `
◎片 名 On the Waterfront
" X/ v$ l( B& L9 \◎年 代 1954
" S [. }+ \+ }* h3 S" K. j/ q3 E◎产 地 美国2 O; g& f9 t0 q9 ]0 w2 |
◎类 别 剧情/爱情/犯罪
) M/ N: d) j( x* ` l; `2 Q& ^- u5 j◎语 言 英语
3 `; Y$ s& G7 H' O- a◎上映日期 1954-06-22(日本)/1954-08-06(美国)
/ e/ t0 l" u" w1 t◎IMDb评分 8.1/10 from 153,549 users. H; {$ O0 C x! G9 r; j7 o+ D5 H
◎IMDb链接 https://www.imdb.com/title/tt0047296/: n- v* M9 ?3 }+ c7 r% u$ O8 J
◎豆瓣评分 7.9/10 from 13,131 users
9 W$ A1 l8 @* F) V" P◎豆瓣链接 https://movie.douban.com/subject/1292521/
7 H8 C( n# A( O, Y◎文件格式 x264 + DTS
" Y0 P; U7 ]) l3 {# O9 ^5 y3 u◎视频尺寸 1920 x 1080
% v5 W2 w. ^% n1 X◎文件大小 1DVD 20.47 GiB
7 m+ Y' x0 \" ]/ Y; a" c◎片 长 1 h 47 min1 E2 l$ g' b6 S3 a1 B
◎导 演 伊利亚·卡赞 Elia Kazan
6 w; b' J" k% x4 m- p2 `◎编 剧 巴德·舒尔伯格 Budd Schulberg
' f& O3 H3 ]) \* [/ }) U◎演 员 马龙·白兰度 Marlon Brando
9 h0 ]$ v2 X: X- o- [! r 卡尔·莫尔登 Karl Malden
; O$ d2 l; R' o5 |" `* q1 t5 W, J6 f! {1 i 李·科布 Lee J. Cobb
" _! T1 u e2 d& x6 R% i& J: f 罗德·斯泰格尔 Rod Steiger0 v+ C& Q/ ?5 t
Pat Henning" ?8 F' V E2 W9 u: ]5 ?
爱娃·玛丽·森特 Eva Marie Saint
& \2 r# u$ c3 L9 g2 @) ] 利夫·埃里克森 Leif Erickson
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◎标 签 美国 | 马龙·白兰度 | 经典 | 1954 | 剧情 | 美国电影 | 奥斯卡最佳影片 | MarlonBrando
& B7 `5 G- I: s1 j8 ^' j" G$ k7 e# ^4 B4 H0 K
◎简 介
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) S( M9 y. X4 Y6 q6 w5 S* } 纽约港的码头上,以约翰尼为首的黑社会势力无情地压迫着码头工人们。曾经是拳击手的特里(马龙·白兰度 Marlon Brando 饰)来到码头为约翰尼工作。他的朋友乔伊因为向犯罪委员会揭发约翰尼等人的罪行,被其手下,也是特里的哥哥查理从楼顶上推下摔死。乔伊的妹妹伊迪(爱娃·玛丽·森特 Eva Marie Saint 饰)发誓要为哥哥复仇,与教区牧师巴里神父一起展开调查。知情人都不敢出面告发。特里也目睹了乔伊被害的经过,虽然同情伊迪的遭遇,想要帮她逃离黑社会的迫害,但他没有告发哥哥的罪行。在与伊迪的接触中,两人渐渐产生感情。当伊迪得知他是杀害哥哥的帮凶,她拒绝了他。之后哥哥也为了救特里而被约翰尼杀害。无数罪恶的事件让特里决心去揭发约翰尼的罪行。在码头上他被约翰尼的手下打成重伤,神父和伊迪赶来支持他,一直沉默的码头工人们也觉醒了,他们团结在一起,为了正义抗争。 W$ @! i5 A6 x; ]2 o- C3 h
9 B3 y4 I) f( {; F' t# d. p2 N) |7 A 本片获第27届奥斯卡最佳影片、最佳导演、最佳故事剧本、最佳男主角等8项大奖。 {2 l! k- j( Q w
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Dockworker Terry Malloy had been an up-and-coming boxer until powerful local mob boss Johnny Friendly persuaded him to throw a fight. When a longshoreman is murdered before he can testify about Friendly's control of the Hoboken waterfront, Terry teams up with the dead man's sister Edie and the streetwise priest Father Barry to testify himself, against the advice of Friendly's lawyer, Terry's older brother Charley.% b& q1 R5 z. J7 A$ f6 M5 J
. g S: P$ K! L$ K◎获奖情况 1 e' |! l( i5 ?# A
8 W5 S. A( I: c& X# k% f
第27届奥斯卡金像奖 (1955)9 M# B; A1 w6 I* ?8 B
最佳影片 萨姆·斯皮格尔% _ S' Y, n% w6 i0 P+ ^
最佳导演 伊利亚·卡赞0 T" t( @9 M0 ^8 ~; r4 S
最佳男主角 马龙·白兰度% e: t& t' L% y% `: ?
最佳男配角(提名) 罗德·斯泰格尔 / 卡尔·莫尔登 / 李·科布
# V% c3 {4 V) O2 K5 `4 _ 最佳女配角 爱娃·玛丽·森特
- v4 e! Z! ?4 d& [8 X 最佳故事/编剧 巴德·舒尔伯格
( q5 J g* T6 z$ v# A 黑白片最佳摄影 鲍里斯·考夫曼
7 m; ~: D5 @0 R- N- y 最佳剪辑 吉恩·米尔福德
# i( \& R- y3 ^. @0 B 黑白片最佳艺术指导和布景 理查德·戴# O% f8 r% p& f6 r; ]& o, ?" |
剧情/喜剧片最佳配乐(提名) 伦纳德·伯恩斯坦8 e& \: g0 e( }3 I1 |, b( V7 H
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第15届威尼斯电影节 (1954)+ m. p) v& H5 Y- m) q
主竞赛单元金狮奖(提名) 伊利亚·卡赞
: z$ ~: q1 A6 _- y, Y* u: v 银狮奖最佳影片 伊利亚·卡赞" ]9 p, p" X; l6 W+ R( F7 K
帕西内蒂奖 伊利亚·卡赞
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$ {* W0 K o. C 第12届金球奖 (1955)+ h- h, P& }! J! S1 u8 Q
电影类最佳剧情片( E! s# d- q$ M6 k& h O$ t
电影类最佳导演 伊利亚·卡赞' C' J" G" b: t1 p1 B& P. x" m1 O: \
电影类剧情片最佳男主角 马龙·白兰度( @/ h9 }* `0 L& t4 @2 E
电影类黑白片最佳摄影 鲍里斯·考夫曼9 y2 V1 `1 o' O3 r" O4 s) f& G
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On.the.Waterfront.1954.1080p.BluRayCD.REMUX.AVC.DTS-HD.MA.5.1-FGT
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) m( k; D+ n2 |" K7 E) l# jVideo
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# J; m3 i: f+ S( T- R2 `Format : AVC
- t, o* }6 J" r3 e% p5 oFormat/Info : Advanced Video Codec
6 V$ Z, B- Q @Format profile : [email protected]3 P# d; w( H7 e. X; N; L
Format settings : CABAC / 4 Ref Frames
& u. d8 y7 a+ f( G2 \4 IFormat settings, CABAC : Yes
9 h9 y6 ?: B2 w x: P1 J1 K4 hFormat settings, Reference frames : 4 frames
; v6 D+ Y# L T1 Q6 iCodec ID : V_MPEG4/ISO/AVC
5 P, T% n1 d/ BDuration : 1 h 47 min, q/ n# |% @) i) O5 {
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( f3 z) s' j" |Maximum bit rate : 37.0 Mb/s0 J$ ?* F+ U3 h8 p: |5 A$ ]$ I9 {
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0 t' O3 e& S3 m( H# M+ j2 \( A/ oFrame rate mode : Constant# H) w0 [* `/ d: X7 u, R# t4 E
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+ y- {7 H' D2 u" W9 p- s8 J6 |6 aColor space : YUV
3 \4 S* j% l, g' A3 WChroma subsampling : 4:2:02 N! N1 X& k' }: U1 M
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. S5 m1 e3 U- I: z8 uScan type : Progressive
0 Q4 X; s: a% C$ k3 F6 y, BBits/(Pixel*Frame) : 0.451
?5 _6 i( b* Y4 qStream size : 16.9 GiB (83%)
@! `2 A2 Z2 N; C: S3 yLanguage : English$ ` `# s7 m8 I: x1 w! X" o
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8 ~' b$ u: L ~2 |Original source medium : Blu-ray g+ m6 `" U. f5 [ O
/ A6 p4 S/ y1 h( A
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8 n0 }: D7 T+ |, [9 n1 W( ]' yID : 2: R' L+ O! c9 k2 v: y0 l& \
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6 d: T" n. A% n/ PFormat/Info : Digital Theater Systems
) C0 U, l4 L1 |* v+ C# e1 ]Commercial name : DTS-HD Master Audio! z; I! A3 h; `, c
Codec ID : A_DTS
* X- V- C9 M3 {% p* {. \7 w5 EDuration : 1 h 47 min
- p& d8 G5 V% h# z/ n% ]5 ^Bit rate mode : Variable
4 T. O, p. K& L3 H& }Bit rate : 3 362 kb/s
+ J8 ~ m+ _% j: fChannel(s) : 6 channels7 Q! V, ^3 m; v2 X3 b" n4 ?
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& u% w/ C$ x! i( M# aFrame rate : 93.750 FPS (512 SPF)7 H& J0 c2 h* O) M5 k. A
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6 [$ a6 E% q# k# B' T% eCompression mode : Lossless
- r' V# f, P P) p, FStream size : 2.53 GiB (12%)+ @' y7 \) T% @+ [' `4 H+ O
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6 n" w1 s* d0 x6 JLanguage : English
9 _- ^7 ^ d4 u1 H0 EDefault : Yes
4 Y, [, Y9 L/ lForced : No
3 \2 g, B( L; `5 R" z0 V, M4 GOriginal source medium : Blu-ray
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Audio #2! b% F {3 S7 r% a" }* \
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6 G" N7 G& E% n& s; kFormat settings : Little / Signed
+ r9 Z3 @8 \ nCodec ID : A_PCM/INT/LIT* u5 d6 f( I2 ]2 P5 h
Duration : 1 h 47 min
, L6 y! S/ n. d0 U. [! GBit rate mode : Constant
/ R9 g- W/ P. G/ P; B9 H' XBit rate : 1 152 kb/s
" T0 Z. s1 v& P1 |% wChannel(s) : 1 channel$ p6 ]5 n6 y( C- N/ [; G8 u& Z
Sampling rate : 48.0 kHz
6 L+ V: u7 o }5 Y; lFrame rate : 30.000 FPS (1600 SPF)
/ @) D9 j. p! v" ?- bBit depth : 24 bits
; o5 a7 _" o4 s+ u, c% {# f7 ~Stream size : 889 MiB (4%)
1 z* l. ?$ Y- P1 q" y$ KTitle : LPCM 1.0- z8 I$ i, c) j! a. p" p
Language : English
) m: I ?3 M, \' n; ]8 J1 r) DDefault : No
U( w7 ^* D2 \! z" C- E# \Forced : No
! c0 @0 q0 M3 v; w8 y9 z! xOriginal source medium : Blu-ray
& G. j; \" Q. s# g/ J0 A7 x' `# {, |6 R# G. `
Audio #39 r! c) h3 h; h4 ~' |+ l7 m
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/ g) k$ B' G, Z; M! _5 RFormat : AC-3( Q2 s' v/ I3 R& S' z
Format/Info : Audio Coding 3
C* ^2 H# o8 m5 H4 qCommercial name : Dolby Digital
+ r( w* ~7 Z$ @9 b3 x) M9 oCodec ID : A_AC39 l1 Y6 j: N& X
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: r# s: Q# n( @( \, c$ dBit rate mode : Constant
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7 A8 P0 a5 }5 v' |7 J: OChannel(s) : 1 channel- E2 Q8 P8 y- ^9 S0 G( Q
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! F7 z+ [2 W9 b; h$ I" _3 YCompression mode : Lossy
, `4 u, o( m5 r0 |9 t! pStream size : 148 MiB (1%)& _2 ]' n1 a& b. ~4 B1 U+ I& F) O. z
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' o% C8 F. ]# r& A: FForced : No
! {! S4 P" s U; t/ E `. b; ROriginal source medium : Blu-ray
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5 z/ d6 B4 I1 {0 [- s. SText #15 n, m9 x* E6 w
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+ U3 G4 z3 z6 V$ @- i
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Format : PGS! I) W$ U& H2 ?" F
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/ I1 A! I4 L" X- t: c2 q4 D) LCodec ID : S_HDMV/PGS5 P. O. m6 F! v$ {! c2 T" X
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- C0 w5 T# {2 u' r5 EDuration : 1 h 45 min; u4 j' W0 R9 i+ B4 H U+ ~- l
Bit rate : 63.1 kb/s
/ Q& B/ I Y* D3 ~2 o( OCount of elements : 2930
% s( q& l, \" w8 O L* YStream size : 47.5 MiB (0%)( n) o; g: R% u) b
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+ @5 ^$ D* e0 p* U* b: CDefault : No
1 j1 |3 q$ v$ f9 R+ BForced : No
( q- r& l; v4 C; D) @2 J3 XOriginal source medium : Blu-ray
6 P' y$ p! G: R9 S) A
, c: r* b( T; U1 }& PMenu
+ B. T* Q$ Q4 N' m8 O, x L00:00:00.000 : en:Chapter 01
9 K5 t6 E5 Y% H# {: A2 K00:01:38.098 : en:Chapter 02+ v( Q( d$ t9 d2 |3 C. A4 G
00:06:03.946 : en:Chapter 03
/ s& ?( F; o- K00:11:14.924 : en:Chapter 04* E* @! I/ e/ Q. `& K1 `/ b7 e
00:12:19.071 : en:Chapter 05
" @' l( s6 O5 I R/ n( P6 U00:21:25.784 : en:Chapter 06
( D$ Q3 W5 c: ^+ H! X, D. W" |00:26:17.576 : en:Chapter 07
. \8 j! Y$ C m% ?00:31:09.284 : en:Chapter 08( z) o3 x( G4 t, P
00:33:31.009 : en:Chapter 09- @, k4 C2 s: P0 o+ ]+ q9 t* y0 B
00:37:48.224 : en:Chapter 10
* Y6 l+ c+ k/ G: X3 a% k" p00:43:19.430 : en:Chapter 119 L: \) J; z' ~. [( @9 J& b. i9 O, y! N
00:48:14.182 : en:Chapter 12- B" @; v3 J& R4 t
00:50:44.708 : en:Chapter 13
: m" I. j+ J W8 d- W" S00:57:40.457 : en:Chapter 14
- v4 \% L3 T" C3 ]9 a0 Y) g- C00:59:09.963 : en:Chapter 15
$ q+ O4 c) e" ?* d& C( U( J& c" p% v+ e01:01:57.714 : en:Chapter 16* i! J. ]% B$ T" I$ u, L* y+ G J* Z
01:03:50.535 : en:Chapter 17
: i1 J- s7 p/ W; _& A$ B: i* L, b01:07:42.683 : en:Chapter 18# D$ R5 y8 ~* J8 u5 K
01:10:36.440 : en:Chapter 19/ K6 [& Z" a1 X$ f/ p
01:16:26.582 : en:Chapter 20# \* J2 a; A! N2 L5 }
01:22:20.226 : en:Chapter 21
# j" }$ B5 s2 _: O- d01:26:54.209 : en:Chapter 22
7 m; G; |5 Z% R01:30:49.402 : en:Chapter 23
6 J3 A3 N) ^* D0 U' f5 W01:35:24.051 : en:Chapter 24
* |" m' q- h' Y2 [01:43:42.257 : en:Chapter 25 On the Waterfront Blu-ray, Video Quality : z; _+ n' U5 n0 X( Z
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Presented in three different aspect ratios -- 1.67:1, 1.85:1, and 1.33:1 -- encoded with MPEG-4 AVC and granted 1080p transfers, Elia Kazan's On the Waterfront arrives on Blu-ray courtesy of Criterion.0 g7 r! G5 z0 Z, W" h0 Y W1 B
% U. ~5 Z; e4 J0 PThe following text appears inside the booklet provided with this Blu-ray release:
0 y( C8 l" W# j, Q0 `- Z
; y8 n6 z4 w/ a4 P; \# I"This new digital transfer was created in 4K resolution on an Oxbury Scanner equipped with wetgate processing from the original 35mm camera negative at Cineric in New York. The color correction was done at Colorworks in Culver City, California, and the restoration was performed by Cineric using Pixel Farm's PFClean and DaVinci's Revival.4 ^9 G2 C' S1 ~3 N6 I0 y% L
& b9 y5 b( H- b% \1 R) x0 @/ G4 O5 qTransfer supervisor: Grover Crisp/Sony Pictures, Culver City, CA.9 t/ Z% K. n0 U5 o
Colorist: Scott Otrosky/Colorworks, Culver City, CA."$ C8 k9 Y0 \# a- h% k
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Please note that the screencaptures included with this review appear in the following order:* @! C+ i/ W$ i1 V- F
$ W+ q' @0 r, z( S' w1. Screencaptures #2-13 are from the 1.67:1 version.
6 L8 I: G7 Y7 u) D2. Screencaptures #14-20 are from the 1.85:1 version./ V/ z5 h. l6 H% T5 A* B
3. Screencaptures #21-23 are from the 1.33:1 version.8 K. o8 Z# P9 G* r2 Q& A5 g! o8 z
8 i# X5 k6 o4 m g. a, [Additionally, the 1.67:1 version of On the Waterfront appears on Disc 1 with all of the supplemental features, while the 1.85:1 and 1.33:1 versions appear on Disc 2.
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To see how the different aspect ratios affect the image framing, you could compare the following screencaptures:
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1. Screencaptures #1 (1.67:1), 13 (1.85:1), and 20 (1.33:1).0 g5 }- r1 N2 g+ ]8 p( r7 _+ b# }
2. Screencaptures #4 (1.67:1), 19 (1.85:1), and 22 (1.33:1).+ ?# V) ?7 i/ i5 [" \. t; {2 Z
3. Screencaptures #3 (1.67:1), 18 (1.85:1), and 23 (1.33:1).
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The new 4K restoration of On the Waterfront is simply fantastic. Detail and especially image depth are enormously impressive. The blockiness and sharpening from Sony's R1 DVD release of the film have also been replaced with flawless contrast and at times truly overwhelmingly beautiful blacks and whites. The previously problematic nighttime footage also looks excellent - shadow definition and clarity are dramatically improved in every single sequence. Furthermore, there are absolutely no traces of problematic lab tinkering. Naturally, the beautifully exposed by the high-quality scan grain is evenly distributed throughout the entire film. Color depth and saturation, especially where there is plenty of natural light, are also terrific. There are absolutely no debris, scratches, cuts, warps, or larger damage marks. All in all, this trulky is a flawless presentation that should make fans of this classic American film enormously happy. (Note: This is a Region-A "locked" Blu-ray disc. Therefore, you must have a native Region-A or Region-Free PS3 or SA in order to access its content).
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On the Waterfront Blu-ray, Audio Quality
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Each of the three versions of On the Waterfront arrives with two standard audio tracks: English LPCM 1.0 and English DTS-HD Master Audio 5.1. For the record, Criterion have provided optional English SDH subtitles for each version., M4 K5 A b q* o+ L
. c+ @+ h5 Q EI watched On the Waterfront with the English LPCM 1.0 track. Later on, I did only a couple of different tests with the English DTS-HD Master Audio 5.1. Despite some obvious improvements in terms of depth on the English DTS-HD Master Audio 5.1 track, I still prefer the English LPCM 1.0 track. In my opinion, Leonard Bernstein's excellent score and the dialog are better balanced (as far as dynamic movement is concerned). But you should experiment with the two lossless tracks and see which one you prefer.
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The dialog is very crisp, clear, stable, and easy to follow. There is no problematic background hiss. Also, there are no pops, crack, distortions, or audio dropouts to report in this review.# R* P5 n1 J# d& T3 d
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