|Category||Drama||Theatrical Trailer(s)||Yes, 1|
|Rating||Other Trailer(s)||Yes, 1 - Dolby Digital Egypt|
|Year Released||1994||Commentary Tracks||None|
|Running Time||101:08 minutes||Other Extras||Menu Audio
Roadshow Home Entertainment
|Pan & Scan/Full Frame||No||MPEG||None|
|Widescreen Aspect Ratio||1.78:1||Dolby Digital||5.1|
|16x9 Enhancement||Yes||Soundtrack Languages||English (Dolby Digital 5.1, 384Kb/s)
English (Dolby Digital 2.0 , 192Kb/s)
|Theatrical Aspect Ratio||1.66:1||
|Subtitles||None||Annoying Product Placement||Yes, very mildly|
|Action In or After Credits||No|
Muriel's Wedding is a wonderful, bittersweet movie. Muriel (Toni Collette) has been told all her life that she is "nothing" and a "nobody". "No one will ever marry you, Muriel", say her shallow friends, led by Tania (Sophie Lee). But, with the help of Rhonda (Rachel Griffiths), Muriel embarks upon a journey of self-discovery.
Hmmm. That plot synopsis sounds like it was written by a studio stooge, but it is really hard to write about this movie in too much detail without giving away too much of the plot for those few of you that haven't seen the movie yet. Suffice it to say that this movie is a lot of fun and very enjoyable - one of the classics of Australian cinema. You will laugh, you will cry, and you will cringe at Australian stereotypes that are mercilessly lambasted.
The transfer is quite variable in definition. Portions of it are clear and sharp, and other portions are washed out and overbright, particularly early on in the movie. There is a lot of white in this movie, and it is frequently overbright and lacking in detail, which is a pity. Shadow detail is passable without being exceptional, and there is no low level noise.
The colours were very strongly rendered. Many indoor scenes were oversaturated, particularly scenes in the Chinese restaurant where reds were oversaturated to the extent that they began to bleed on my display device unless I backed down on the colour control a little. Pinks and oranges were also problematic, appearing a little too strong. These colour balance problems were most notable during the early part of the movie, but are probably inherent in the way the movie was made.
There were no MPEG artefacts seen. Film-to-video artefacts consisted of some very minor aliasing. Film artefacts were remarkably few and far between.
The dialogue was clear and easy to understand.
There were no audio sync problems.
The musical score by Peter Best, along with the ABBA classics contribute a great deal to making this movie the consummate experience that it is. If you don't like ABBA, you won't like this movie. If you do, then you are in for a treat.
The surround channels were used for music, and for some minimal surround effects. The mix remained a front soundstage mix for the great majority of the movie, and there were certainly no split surround effects. Having said that, this is not the sort of movie that would particularly benefit from an aggressive sound presence, so it is not missed in any way.
The subwoofer was used lightly for music.
The video quality is not great, but acceptable. Turn down your colour control slightly for best results.
The audio quality is average.
The extras are limited.
© Michael Demtschyna
26th November 1999
|DVD||Toshiba 2109, using S-Video output|
|Display||Loewe Art-95 95cm direct view CRT in 16:9 mode, via the S-Video input. Calibrated with the NTSC DVD version of Video Essentials.|
|Audio Decoder||Denon AVD-2000 Dolby Digital AddOn Decoder, used as a standalone processor. Calibrated with the NTSC DVD version of Video Essentials.|
|Amplification||2 x EA Playmaster 100W per channel stereo amplifiers for Left, Right, Left Rear and Right Rear; Philips 360 50W per channel stereo amplifier for Centre and Subwoofer|
|Speakers||Philips S2000 speakers for Left, Right; Polk Audio CS-100 Centre Speaker; Apex AS-123 speakers for Left Rear and Right Rear; Yamaha B100-115SE subwoofer|