The Train - KLSC 4K Ultra HD Blu-ray

As I already previously reviewed KLSC's last Blu-ray release of The Train so I'll defer to those words here:

The war's end is near. The Allies are mere days away from liberating Paris. Before American, French, and English troops march into the city, Colonel Von Waldheim (Paul Scofield) has ordered the theft of the most priceless paintings, the cultural heritage and glory of France to be shipped off to Germany for his own personal collection. Under pressure from the French resistance leaders and the allies, railroad man Labiche and his team of saboteurs must find a way to safely stop the train without destroying the irreplaceable works of art. 

Our resident Classics Guru David Krauss already reviewed The Train on Blu-ray - twice. Since he covered those two Twilight Time releases, he was ready to pass the torch to someone else for the Kino Lorber Studio Classics re-re-release. Those two releases from Twilight Time are virtually identical - you can read reviews for them HERE and HERE. 

While I do agree with David that The Train can be very uneven, I think it's a better movie than it's often given credit. It really is the product of two directors, Arthur Penn developed the film, cast the film, oversaw the screenplay - apparently lending his hands there as well. By all accounts, it was turning into an Arthur Penn film starring Burt Lancaster. But - Lancaster was the producer and star, he called the shots. After one day of filming Penn was fired, John Frankenheimer was hired, and the production shut down so they could retool the script to speed up the action. 

The final product admittedly feels like a pie with a lot of hands in its making. Elements of Penn's more meditative intentions about the relationship between humanity and dignity with art remain. If you took a shot every time someone contemplatively uttered "the glory of France" you'd have a hell of a drinking game. Then you have the intense kinetic energy Frankenheimer brought to the production staging impressive and thrilling action sequences with Lancaster often front and center doing his own stunt work. 

Despite the tinkering, the stuttering pace, and some of Lancaster's more "theatrical" monologues, I dearly love this movie. And not for nostalgia's sake that it was one of the films my wife introduced me to early in our relationship. I've always admired Frankenheimer and what he brought to films - especially troubled productions where he'd be unceremoniously brought in to save a film. His use of deep focus long takes for me always brought an intimate edge to any scene. Watch the scene where Labche pleads for Papa Boule's (Michel Simon) life. Lancaster's face takes up the left side, Simon and a Nazi Goon in the middle, with the extensive trainyard in the background all teeming with activity. It's beautiful photography and scene direction and there are numerous moments like that throughout the film. The human element is never lost even against several thrilling action set pieces. 

If there's a knock I will give the film is that it plays to Burt Lancaster's best and worst tendencies. As a former circus trapeze performer, he brings intense physicality to every movie ready and willing to do all his own stunts. As a genuine dramatic actor, he can bring emotional weight to any role with simple mannerisms and line utterances. A simple "no" or "yes" carries more weight with Lancaster than a monologue. With The Train, the film seems to almost go out of its way to showcase Lancaster's natural physicality while also indulging some over-long monologues complete with some very stage-like gesturing that plays better for the back of the house than a major motion picture. But with a lot on the line and the need for a hit, I can forgive these indulgences.

Where The Train works best is the cat-and-mouse game between Colonel Von Waldheim and Labiche. While this story is based on historical efforts from French Resistance and railroad men to keep trains like the one featured in the film diverted long enough for the Allies to rescue them, it's the dynamic between the two leads that sells this show. At first, you're deceived that Von Waldheim may actually not be so bad - for a Nazi. He appreciates the art but is greedy and wants it for himself. However, we soon realize he's willing to risk any amount of human life to ensure the safe delivery of his prize. On the other hand, Labiche doesn't really give a damn about the art. It's important sure, but human lives are more important to him. He goes out of his way to make sure as few lives as possible are lost. When the death toll mounts he questions whether or not the mission is worth it. But then it's pointed out that all of the lives lost would be for nothing if Von Waldheim wins and so the game becomes personal - right to the bitter end.

Vital Disc Stats: The 4K Ultra HD Blu-ray
The Train pulls into the home video station one more time, only this time it's carrying a new two-disc 4K Ultra HD Blu-ray from Kino Lorber Studio Classics. Pressed on a BD-100 disc with a Region A BD-50 for the 1080p and bonus features, the discs are housed in a two-disc case with reversible insert art and slipcover. The discs load to static image main menus with traditional navigation options. Also included is a booklet featuring a great essay from Julie Kirgo.