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121 of 130 people found the following review helpful:
4.0 out of 5 stars
Outstanding DVD, but not quite definitive, October 1, 2001
Despite typically herculean efforts by distributor Anchor Bay, the search for a truly definitive version of "The Wicker Man" (1973) goes on. First-time director Robin Hardy and acclaimed writer Anthony Shaffer (twin brother of Peter, and author of "Frenzy" and "Sleuth" [both 1972], the latter based on his stageplay) attempted to revise the horror genre with this cult favorite concerning a deeply religious police sergeant (Edward Woodward, in a note-perfect performance) whose search for an apparently missing schoolgirl on a remote Scottish island exposes a Pagan society rooted in old superstitions and the worship of vengeful gods. To the accompaniment of a haunting score by Paul Giovanni, comprising variations on traditional songs and folk music, "The Wicker Man" depicts an isolated community at odds with the world at large, steeped in ancient beliefs and ruled with deceptive benevolence by a patriarchal figure (Christopher Lee, in unusually subtle form) whom the script suggests is a monstrous con man, maintaining the island's customs not through genuine convictions, but because the islanders - all of them true disciples of the cause - simply know no other way.The central mystery (Woodward's search for the missing girl) is genuinely engrossing, and the bawdy songs which greet the sergeant's arrival are soon replaced by an earthy sensuality as the true extent of the islanders' belief in regenerative powers - divorced from traditional notions of 'morality' - become apparent. Lee's assessment of God verges on blasphemy ("He had His chance and...blew it!"), but ultimately, neither Christianity or Paganism emerges with any dignity from the devastating finale. There's real magic in every frame of this extraordinary film, though it's clearly not for everyone: If you don't 'get it' within the first ten minutes, then the careful pace and deliberate absence of familiar horror motifs may seem a little long-winded, even dull. Everyone else, however, will be enchanted by this unique, one-of-a-kind movie. The filmmakers themselves have roundly condemned the shorter 'theatrical version' (87m 31s) which Anchor Bay has made available either as a stand-alone DVD or as part of a two-disc box-set. However, most viewers were first introduced to this film via the shorter print, simply because it was the only available version for many years, and despite the makers' protestations to the contrary, it's still a remarkable experience. Harry Waxman's frequently hand-held photography of oddly beautiful Scottish locations is perfectly preserved in this anamorphic (1.85:1) print, and there's an extremely modest 5.1 soundtrack which adds resonance to Giovanni's vivid musical numbers but doesn't attempt to broaden the soundstage any further than necessary. A two-channel surround mix is also provided, but Anchor Bay has neglected to include the theatrical mono track, which is unacceptable. Multi-channel Dolby/DTS is always welcome, but NEVER at the expense of the original audio format... Disappointingly, the filmmakers' preferred print (99m 34s) is only available via the box-set, and is comprised of footage from the theatrical print combined with material from 1" analog tape - the only surviving elements, apparently - so the 'extra' material becomes readily apparent whenever the visual quality deteriorates. This print is also anamorphic and forsakes 5.1 surround for the original two-channel mono soundtrack (hooray!), and the added footage - which underlines the script's major themes and streamlines the narrative - will be a revelation to anyone who's only ever seen the theatrical print or the 95m version recently unearthed by the BBC. There are a few bits and pieces in the theatrical version which are exclusive to that print, and Woodward's encounter with the doctor in the longer version (at 39:30) opens a little too abruptly, indicating an apparent loss of footage (the 'original' running time has always been quoted as 102m, slightly longer than this particular print). However, neither one of Anchor Bay's versions includes the animated image of the sun-god which appeared after the closing credits in the BBC print, filling the screen before shooting backwards into darkness. The loss of this brief, iconic fragment is inexplicable. Closed captions are provided in this region-free presentation, and there's an excellent documentary included in the package, featuring interviews with all the principal contributors and - best of all - providing treasured glimpses of the film's primary locations as they appear today. Oddly enough, there's no audio commentary, which is both strange and unexpected. You would have thought that Christopher Lee (at least!) would have been more than willing to share his thoughts for the DVD release, though I suspect this was due more to scheduling conflicts than lack of interest. Otherwise, this is an important restoration, and highly recommended to fans and novices alike. Anchor Bay may not have totally satisfied the nit-pickers amongst us, but they've done a sterling job with the materials at hand.
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