The Magnificent Ambersons (The Criterion Collection) [Blu-ray]

Now available for the very first time on Blu-ray, the The Magnificent Ambersons was Orson Welles' immediate follow-up film to his classic masterpiece Citizen Kane. The Magnificent Ambersons is a classic that is very different from Kane, an unusual blend of a melodrama and a movie with a much deeper message--the first film ever made about the social impact of a technology upon the way people live. At the films opening, Eugene Morgan (played by Joseph Cotton) is one of the early pioneers developing these new-fangled things then called horseless carriages. He is not well to do financially and is trying to make a success of himself in the world, while the Ambersons are then among the richest and most powerful families in the city. While hoping to win the hand of the then also young Isabel Amberson, one night Morgan drinks too much and makes a clumsy and embarrassing spectacle of himself. Isabel, in a fit of anger at Morgan, agrees to marry lovelessly into the well to do Menifer family instead. As one far-seeing neighbor points out, Isabel can't possibly love Menifer, so she'll pour all her affection into her children and raise the worst gang of spoiled brats the town has ever seen! The only thing the neighbor gets wrong in the end is that Isabel has only one child, George, who she subsequently spoils rotten, exactly as predicted. Years pass, and as Morgan's business thrives and the automobile eventually replaces the horse as the primary form of transportation, large numbers of people move from the inner city out to the suburbs, reducing the value of the inner city real estate that the Amberson's fortune is based upon. In a reversal of fortunes, Morgan becomes rich and powerful while the Amberson's fortune eventually faulters as a direct result of the social changes Morgan's beloved machines bring about. There are insightful observations about the technology and its' effect on our lives made in this film like, "The faster we're carried from place to place, the less time any of us seems to have on our hands". Overlayed on top of this tale of technology and change is the story of Isabel's son, George Menifer (played by Tim Holt), the last of the Amberson line, the spoiled child who eventually grows into a spoiled man--a person whom most of the town prays will one day get his "come-uppance" for all the harm he continuously does to others with his over inflated ego and absurdly massive sense of self-importance. By the time the reversal of fortunes finally delivers some that much deserved "come-uppance" to the once so egotistical George, his importance to the town has dwindled to the point that those who prayed so fervently for it once upon a time have long since forgotten all about it--and have forgotten all about him as well. To further complicate matters, there is Eugene and Isabel's love (which has never completely died over the years) to deal with--and which the egotistical and spoiled George Menifer simply cannot tolerate, even though it's not acted upon by Eugene and Isabel--and even though George himself has fallen hopelessly for Morgan's very own daughter. For the sake of those who've not seen the film yet, I won't give away any more of the film's story details. The acting in The Magnificent Ambersons from every single cast member is absolutely stellar, uniformly spectacular. I consider this incredible work of genius to be a masterpiece, but a "flawed" masterpiece for the reason that, as incredibly good as it is, it was once an even better film. As many people know, the film was re-edited by the studio, losing more than a half hour of footage (some claim closer to an hour), and with a new final scene, shot without Welles' knowledge, replacing his original one. Although this is not Welles' film as he intended it to be seen; so many, many long moments of pure genius still remain that they give us a tantalizing taste of what the original film must have been like--and, I must admit, it is still a spectacularly good, utterly classic motion picture, studio re-editing and all. The Magnificent Ambersons will therefore always remain a great classic film, but also one which is less than it was originally--and thus a "flawed" masterpiece. As good as it is, one can only guess with a deep sense of awe how even more incredibly fantastic Welles' original version must have been. This new Criterion Blu-ray is the best version possible to make of this classic film. The original negatives of it were destroyed, so it was constructed, instead, from the best theatrical prints available. Although not perfect, it's still much, much better by far than any other version that's ever been available before--and, with this film's renowned photography, the improvement this Blu-ray affords makes a real difference to the overall viewing experience. This is the first time that I have ever seen this film look so good and it really is a treat to finally get to see this wonderful classic movie the way it is now presented by Criterion. If you are a Welles fan, a film student, or just a fan of this great classic film, then this Criterion Blu-ray is unquestionably the very best version of Welles' The Magnificent Ambersons to view. I give this Criterion bluray a very high recommendation.

This was Orson Welles' second film and is in many ways as dazzling as his first ("Citizen Kane"). Released in 1942, it is based on Booth Tarkington's novel about the decline of a wealthy midwestern family in the early 20th century. The set design (mostly within the Amberson's mansion) is sumptuous and the stark black and white cinematography is stupendous. The many tracking shots (including reverse tracking shots) are breathtaking and admirable. The acting is superb, especially Agnes Moorehead who had quite the breakdown scene near the end of the film. There are two commentaries and both are interesting and contain a lot of information regarding the production, the sets and techniques used. Most of the information details the post-production in which RKO executives took control of the film and basically gave it a hatchet job. Nevertheless, despite the promise of what could have been, the film remains a good one and far superior to many in its day. As usual, Criterion does an amazing job. This Blu-ray edition looks fantastic. In addition to the commentaries by Robert L. Carringer, James Naremore and Jonathan Rosenbaum, other extras include a Dick Cavett interview with Welles, an interview with Simon Callow, Joseph McBride, a segment from a 1925 silent adaptation of the film, audio interviews with Wells and Peter Bogdanovich, two Mercury radio plays ("Seventeen" (1937) and "The Magnificient Ambersons" (1939) and the trailer. An insert includes essays by Molly Haskell, Luc Sante, Geoffrey O'Brien, Franna Smith Nehme and Jonathan Lethem.

Finally we have access once again to the Criterion “The Magnificent Ambersons” ....... I remember the day I picked up my special order of this monumental classic on laserdisc and finally got to see this film with the commentary, etc. We now have it on Blu Ray disk! If you have not seen or do not know about this great movie, it is a must-see and even considered to be a more important film than Wells’ “Citizen Kane”. The tragedy being that Orson was removed from the finishing of Ambersons and the studio chopped it to hell! Considering Welle’s standing today I know this seems impossible to have happened but it is true. Thus it has Never been seen by anyone in its entirety. This having been said, we are fortunate that we have what we do, but are sadly left wanting for those parts missed. It stands as a towering story in some of the most magnificent black and white ever presented to us on the big screen. It still shines magnificently and is powerful as hell in the truncated condition that we all have been allowed to see.... It is impossible to imagine the depth of power it might have presented to us if Orson had been left to finish what ostensibly was his greatest film. I could run on and on here at great length, but it is not necessary I believe to convince you to see this beautiful film. Once seen you will never, ever, forget Little Georgie Minafer and the disgusting monster he grows up to become. But, he does meet his comeuppance that the townsfolk always wished for him...but at such a cost to family and friends. What a strong, compelling, story and affirmation of karma coming home to roost may have never been presented so well on the screen! This film, for what it is, and what it represents needs to be witnessed by everyone at least once..... Never to be forgotten once seen, and definitely a Must Be Seen Masterpice by the Master Himself, Orson Welles that even after its radical surgery by the studio still shines and shows Wells’ great mastery and vision! Again, thanks to Criterion, we celebrate the power of Great Film!

A true classic addition to my collection and worth it thanks to the great extras.

Recibí a tiempo la película, todo bien.

Don't be fooled by over-analytical reviews intensely criticizing post-production editorial work not done by Orson Welles -- this is a beautiful film. A must-see, with charming handling by all. Welles makes his presence felt, without appearing in the picture, in each and every frame. It is an honor to know him. The CriterionCollecton transfer and book are everything you could want in a permanent souvenir.

A mangled masterpiece. Great cinematic acheivement by Welles. Great special features interesting stories on the making of the film. Cool booklet.

A beautiful transfer one of the best I’ve seen lots of extras and really paint it’s a new picture of how Orson Welles turned his back on this production. A must for your collection