Friday, 25 July 2014
Stephen Altobello talks us through how the 5.1 remixes prepared for DVD re-releases have messed with original artistic intent, fixing sound cues that may not have been broken. I'm not really sure I understand this particular revisionism. It seems to be predicated on an idea of the audience, rather than the actual audience. As if the film studios believe modern viewers can't stand to hear any sound effect they haven't already heard a million times before on TV.
It might make sense as an alternative, if the original track is damaged or has elements missing, but not as a replacement. It also speaks to a boring literalism with film sound effects as a locked, indexed idea rather than something fluid and imaginative. Unfortunately, Clint Eastwood seems particularly cursed by this movement. Recent issues of The Good, The Bad and the Ugly have had their buzz bullets replaced with dreary hollow-point rapports.