As The main extra supplied by Arrow is another richly detailed commentary track from Japanese film authority Jasper Sharp, who delves deep into the multifaceted historical and cultural contexts of Making its Blu-ray debut, Tomu Uchida’s film is a highly stylized ode to love and disorder.Criterion’s Blu-ray provides a comprehensive window into Streisand’s creative process.Opening with picture-perfect helicopter shots of the sunset over a South Carolina marsh set to the soupy strains of James Newton Howard’s score as Tom delivers a sentimental voiceover about his childhood, The script, by Conroy and Becky Johnston, radically alters the course of the novel, which is primarily told through Tom’s flashbacks to his childhood. In each work, human society achieves equality via undiscriminating genocide by another species, which Wells explicitly sees as ironic just desserts for colonialist egotism and incuriosity. But Reichenbach is demonstrating how sound and image can work to suggest happiness, perhaps even capture it in the moment, while also hinting at how poverty is linked to racism and segregation. Rather, Whale employs the pure language of cinema to highlight the drama of the song, starting with the camera spinning nearly 360 degrees around Joe before moving in for a close-up on his face. The narration, though, troubles a simple alignment of image and music by wryly noting that “mealtime can be a party or a competition.” What it isn’t, this insight implies, is either nutritious or enriching, and while one could be accused of pedantry by reading too much into this sequence, In one particularly graceful sequence, several Black children are seen standing on tires and playing on oil barrels and with hula hoops. Magnolia (Irene Dunne) will share the riverboat stage with her paramour, Gaylord Ravenal (Allan Jones), a charming gambler masquerading as an aristocrat. Grain is quite apparent throughout and generally consistent, though there are some sequences where its very visible presence is borderline distracting. But the real world insists on intruding on their idyll, not out of political expediency, as it happens, but owing to untrammeled desire. Using a framing device in which the district attorney, John Grant (Alan Dinehart), who prosecuted Nora (Zita Johann) tells his sister, Edith (Claire du Brey), of the tragic circumstances that led to the young girl’s execution, In one flashback, Nora is suddenly disturbed when her beau, prospective Governor Dick Crawford (Paul Cavanagh), strokes her hair, only for a cut to Nora in prison revealing that her reaction stems from her hair being cut prior to her execution. Any time period with style to burn makes a natural subject for the movies, and Seijun Suzuki's Taishō Trilogy — Zigeunerweisen (1980), Kagero-za (1981), and Yumeji (1991) — papers every scene with Tashō style, sensuality, and attitude. Just as earlier Charles couldn’t quite put his finger on the difference between beer and ale, even though “they’re nothing alike,” this scene likewise taps into the opposition between similarity and difference that runs throughout the film. To illustrate the lyrics, Whale intercuts expressionistic shots of toil and suffering that evoke the gloomy mood of the legendary horror films he made for Universal, such as As a filmmaker, Whale was unusually fond of the moving camera, often finding ways to integrate cinematographic motion into scenes that other directors of the era might have covered in simple static long shots. Her departure from the show makes room for the fresh-faced—and undeniably white—daughter of the riverboat’s proprietors, jolly Cap’n Andy Hawks (Charles Winninger) and shrewish Parthenia (Helen Westley), to take her place.