Return of the War Room, which reflects on the actual campaign from all sides, seems to somewhat close that gap, though is a completely different beast stylistically since it’s made up entirely of talking-head interviews. As I found out in other features the original intention of The War Room was to follow both the Bush and Clinton campaigns (and possibly the Perot campaign if such a crazy thing ever happened) but they could only get the Clinton campaign to agree to let them film. The interestingly titled sequel, Return of the War Room, from 2008 and running 81-minutes, gathers together many of the participants involved in the ’92 campaigns for Clinton, Bush, and Perot. Overall it offers an even deeper look at how the “story” for a campaign comes together. He takes up a good chunk of the segment and offers some interesting insights, though very little about his own ’92 campaign.
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He also talks about how he came to use the Fleetwood Mac song Don’t Stop (Thinking About Tomorrow). Clinton himself then appears and talks a bit about the campaign, the importance of having a straight and clear “narrative” in your campaign, and the Republican strategies then and now. The 26-minute clip features Carville and Vernon Jordan talking a bit about the campaign, New Hampshire in particular.
It doesn’t look like a loaded edition at first glance but Criterion has managed to pack on quite a bit of material here.įirst up is footage from a panel discussion hosted by the William J. In the end it has some minor limitations simply because of the film’s nature but it still manages to amaze in certain areas and was far more active than I would have figured. Still the conventions and scenes with crowds offer some more depth and strength to the track. Dialogue is clear but there is a flatness to everything, though I would think this is pretty much expected. Sound quality is generally good, limited simply by the nature of the film and how it was shot. But some of the film’s music that appears and the sounds from the conventions both fill out the sound field nicely with the conventions being especially notable. Unfortunately the rest of the track isn’t as clean or as active as this opening, but I have to say for a documentary it manages to still be pretty impressive.įrom here on it remains front heavy with all voices focused towards the center speaker. It pops and bursts, separating into all directions, and sounds completely natural as if you’re actually there. The film opens with a firework display and it really blasts the speakers, filling out the environment beautifully. The video presentation didn’t entirely surprise me but I was actually rather stunned by the 2.0 DTS-HD MA surround track. Overall the source isn’t super clean, and the general nature of the film limits the video presentation, but I think the transfer still does a service to its presentation. Still, this Blu-ray’s transfer probably has the best presentation I’ve seen of video footage ever.
As mentioned before video footage is mixed in and it’s very obvious it comes off bit noisy with far less resolution. The next surprise is that the source is also in excellent shape and I can’t recall many blemishes it’s been cleaned up nicely.
The image is also consistently sharp throughout with nice details, or as much as the source will allow. Blacks vary from deep to a little washed but as a whole are nice. But the transfer still has some pleasant surprises, the biggest for me most likely being the colours, which are rendered nicely, coming off fairly vibrant and bright, natural with solid saturation levels. While not a disaster there is noticeable macro-blocking and compression noise along with some minor banding in places. Pennebaker and Chris Hegedus is very grainy as one might expect but I can’t say it’s rendered all that well. Shot on 16mm with a mix of what I can only guess is Camcorder footage edited in the image is a bit of a mixed bag but I think getting past some of its weaknesses it’s still consistently good. Criterion presents The War Room on Blu-ray in its original aspect ratio of about 1.33:1 on a dual-layer disc in a new 1080p/24hz high-definition digital transfer.
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