Hyams would never be so in shape as in capricorn one, helped by a good script and an excellent idea that doesn't just hint at monnlanding conspiracy theory, but also reflect the sense of disbelief toward institutions of that era. He's always been a good director, and you can tell by this title how working in the Seventies was beneficial to many people in the cinema industry. Mine was rented, but I want to buy a copy as soon as I can.
CAPRICORN ONE 1978 TV
I know that when this film was screened on TV in the 1980s, for example, it was in 4:3 and it's very difficult to see how they made a tall 4:3 after you've seen this narrow widescreen original version.Ĭertainly, it's a disc to have. It's one of the narrower panavision widescreen formats which are to be found in mainstream cinema, and great to watch in that.
Some people are saying their disc is in 4:3, which I didn't find - I watched in widescreen. Yes - I think if you feel the quality here is disappointing, you don't really relate to the life of the film well.
Very satisfying and there is no sense of the (very nice) visual experience detracting from the visual story, which I feel could have been the case in a different render, and can be the case in some HD films.
CAPRICORN ONE 1978 FULL
Some people might expect better for full HD, but its' very good quality and much better than I've ever seen the film in before (I've seen it numerous times as I was growing up before the days of flat screen and digital TV). It brings this move into one of the finest acheivements in modern cinema.īlu-ray quality: Yes, it's very good. *** SPOILER PARAGRAPH *** - Hal Holbrook's terrifying speech after terrifying speech of lies is just the most exemplary example of this in cinema and can only be in the top ten achievements of cinema ever. 3 Days of the Condor and the USA in Asia in the first decade of this century, particularly Iraq), the illuminati conspiracy film can be one of the most relevant and important styles of artistic expression today. It does it excellently.Īt a time when some of the most fundamental parts of old conspiracy theory movies can even be found to have come true or have been true all along (eg. It just happens that this is a particular story - in the prevalent time of excellent, very relevant conspiracy theory cinema (3 Days of the Condor, Outland, Chinatown, The China Syndrome etc.) which so well uses a subject to present the government, illuminati conspiracy theme. When I say it's a really serious subject I'm not actually saying I concur with the conspiracy theories that there was never any real moon expedition, landing, other space trips and so on. It's a really serious subject - the film knows that - and maintains it through excellent, gripping entertainment all the way to the end. And to me it seems much better than if it were to be getting bogged down in trying to make the film which is something so simple and starkly immensely meaningful into something that tries to be more believable in conclusion. I'm certainly not criticising the ending, it's what the film does. Yet the seriousness remains at the same time - it's a good idea for the topic where it is even relevant to show the theme in such a way as it is about certain elements of life being so divorced from the kind of everyday normality that most people would recognise. Telly Savalas provides some welcome relief in a less serious role, just as the plot and script veer off more into the kind of pulpish, science fiction ending. Such is the quality that even cameos are so well done, such as when Gould's character tries to find his friend played by Walden and comes across an unknown lady in an appartment he is looking around. The other starring roles are very well to excellently played, whether in desert outdoors or studio, and even small parts are at least finely achieved, Robert Walden - to really great, Elliot Gould's character's female journalist companion. While some actors are given writing which enables them to amazingly excel, making some of the finest performances on film - Hal Holbrook, Karen Black and Elliot Gould particularly. That this happens fortunately to combine with classic acting, action and human importance of the theme makes for one of the greatest moments in cinema. Here is one of the best classics of storyboard, script and editing together. Within that, each actor shines so well at least in the very effective constraints of the formula. The acting is so well carried off, fitting in perfectly with the so finely honed, most simple formula idea. It is like a really simple formula, really, really simple that has been so finely honed to perfection in simple story telling, as a gripping thriller with exiciting scenes and in terms of greatly effecting cinematography.
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