Merrily We Go To Hell (1932) (Blu-ray) (UK Import)
Merrily We Go To Hell (1932) (Blu-ray) (UK Import)
The Blu-Ray was developed as a high-definition successor to the DVD and offers a significantly increased data rate and storage capacity compared to its predecessor. Blu-Rays can therefore store movies with significantly better resolution and offer enormously high picture quality on corresponding screens. Blu-Ray players are usually backward compatible with DVDs, so that they can also be played.
- Country of origin:
- USA, 1932
- Age release:
- Dieser Titel ist nicht FSK-geprüft.
Delivery to minors is not possible.
Infos zu Titeln ohne Jugendfreigabe - Item number:
- 10457281
- UPC/EAN:
- 5050629974232
- Release date:
- 14.6.2021
- Series:
- Criterion Collection
- Genre:
- Drama, Komödie
- Playing time ca.:
- 78 Min.
- Director:
- Dorothy Arzner
- Actor:
- Sylvia Sidney, Fredric March, Adrianne Allen
- Language:
- Englisch
- Subtitles:
- Englisch
Addiction, nonmonogamy, and female sexual liberation: decades before such ideas were widely discussed, Dorothy Arzner, the only woman to work as a director in 1930s Hollywood, brought them to the screen with striking frankness, sophistication, and wit—a mature treatment that stands out even in the pre-Code era. Fredric March (in one of four collaborations with Arzner) and Sylvia Sidney turn in extraordinary performances as an urbane couple whose relationship is pushed to the breaking point by his alcoholism and wandering eye, leading them into an emotionally explosive experiment with an open marriage. Exposing the hypocrisies and petty cruelties simmering beneath the surface of high-society elegance, Merrily We Go to Hell is a scathing early-feminist commentary on modern marriage.
Specials
New, restored 4K digital transfer, with uncompressed monaural soundtrack on the Blu-ray
Dorothy Arzner: Longing for Women, a 1983 documentary by Katja Raganelli and Konrad Wickler
New video essay by film historian Cari Beauchamp
English subtitles for the deaf and hard of hearing
PLUS: An essay by film scholar Judith Mayne
New cover by Sonia Kretschmar
