The Green Mile (1999)
Featurette-Walking The Mile
Main Menu Audio & Animation
|Year Of Production||1999|
|RSDL / Flipper||RSDL (95:17)||Cast & Crew|
|Region Coding||2,4||Directed By||Frank Darabont|
Warner Home Video
Michael Clarke Duncan
Harry Dean Stanton
|Pan & Scan/Full Frame||None||
English Dolby Digital 5.1 (384Kb/s)
German Dolby Digital 5.1 (384Kb/s)
|Widescreen Aspect Ratio||1.78:1|
|Video Format||576i (PAL)|
|Original Aspect Ratio||1.85:1||Miscellaneous|
English for the Hearing Impaired
German for the Hearing Impaired
|Annoying Product Placement||No|
|Action In or After Credits||No|
Tom Hanks and the whole cast deliver such wonderful performances that this film becomes both heart-warming and sobering.
The transfer is extremely clear and sharp at all times, with excellent foreground detail. There is no low-level noise present and the shadow detail never wavers from being perfect.
The colour and skin tones are perfectly balanced throughout the entire movie. The prison's interior is a little on the drab side, but the lime green floor makes up for this.
Every now and again some slight grain creeps into the picture, but it is so trivial that I doubt you will notice it unless you are actually watching the background instead of the movie. There are three notable exceptions to this however; the Castle Rock Entertainment introduction screen, the walls at 3:20, and the sky at 4:25. In all of these cases, the grain is easily spotted, but is not overly distracting.
No MPEG artefacts were seen. I only saw three extremely trivial occurrences of aliasing for the whole movie, at 3:51, 10:18 and 134:12. None of these were distracting. Film artefacts were also extremely rare and small, such as at 70:03, 113:42 and 150:51.
This disc is an RSDL disc, with the layer change occurring mid-scene at 95:17, in Chapter 29. This is an averagely-placed layer change that does not disrupt the flow of the movie, even through it is reasonably easy to spot.
I found the dialogue hard to understand on many occasions. Tom Hanks' dialogue seemed particularly susceptible to this. Some of the worst examples of this can be found at 24:47, 25:56, 75:58, 104:23, 110:58 and 154:51.
Audio sync was not a problem at all with this transfer, and was completely spot on. One occurrence of looping was noticed, but it was trivial and inconsequential.
Thomas Newman's musical score is moving and suits the movie well.
The surround channel use is very good for most of the movie, creating a lightly enveloping soundfield. There are many normal and directional sound effects present in addition to the music. Two great examples of directional or split rear channel use can be found at 100:01 and 127:12. There are many scenes and sequences where the surround channels are aggressively utilized for music and effects which creates a wonderful enveloping soundfield, such as at 9:00, 70:39, 97:04-100:01, 114:13, 118:09 and 145:07-146:59. At 112:42, there is a small click in the rear left speaker.
The subwoofer is very well integrated into the soundstage and is used to subtly add bass to many scenes. It was reasonably active during some of the more dramatic sequences.
|Surround Channel Use|
The Special Features menu looks best when viewed in 16x9 mode.
NOTE: To view non-R4 releases, your equipment needs to be multi-zone compatible and usually also NTSC compatible.
The video quality is excellent.
The audio quality is very good, with only the clarity of some of the dialogue letting it down.
The extras are very limited.
|DVD||Sony DVP-725, using Component output|
|Display||Sony Projector VPH-G70 (No Line Doubler), Technics Da-Lite matt screen with gain of 1.0 (229cm). This display device is 16x9 capable.|
|Audio Decoder||Built in to DVD player. Calibrated with Video Essentials.|
|Speakers||Fronts: Energy RVS-1 (3), Rears: Energy RVSS-1 (2), Subwoofer: Energy EPS-150 (1)|