It's a Mad, Mad, Mad, Mad World (The Criterion Collection) [DVD]

** DEAR FRIENDS: BEFORE ATTACKING THIS PRODUCT, PLEASE WATCH THE "RESTORATION DEMONSTRATION" buried on disc 2 (Blu-ray), feature #12 - and on disc 4 (DVD), feature #7; see details below.Dick Shawn: "Man, you're buggin' me! Cut out, cut out, cut out!Jonathan Winters: "What is this 'cut out' talk?"Dick Shawn: "Out baby, out baby, out baby, out baby, out!"Jonathan Winters: "Don't call me baby."* HERE'S A LIST OF WHAT COMES WITH THIS PRODUCT. There's no need for me to go into the plot of this film nor to explain how funny it remains, especially to baby boomers who saw this in a Cinerama or in a second-run theater in 1963 or in 1970 - or saw it chopped up on television.* All twelve (12) features on two (2) Blu-ray discs - have been spread across three (3) DVD discs that are included in this set.* Some of the bad reviews about the cardboard packaging of this five-disc set are justified. However, I feel complaints specific to the content of this Criterion product should be counter-balanced with this fact: Much of the footage from the original roadshow production of "Mad World" is LOST. As in FOREVER.* I am guessing that most writers of the "three-star-and-below" reviews of the extended version of this film - wrote them BEFORE watching a key, five (5)-minute special feature called "Restoration Demonstration." (See below, Blu-ray disc 2, item #12.) It's the only place where customers can get the best idea of the titanic troubles Robert A. Harris's team ran into while trying to restore "Mad World" using lost color footage that had faded completely to deep magenta. This "pinkish" footage had to be stripped, de-saturated and reassembled without adding "colorizing" effects which are taboo when they involve restoring vintage classic films.* Yes, you have every right to deserve perfection for your dollars. But unless you wanted the restored "Mad World" to be computer generated and "Avatar-ed" to death - you can correct things such as color fading, warping, shrinking and sound drops only so much - before unnecessarily intruding, by creating out of whole cloth - something completely at odds from director Stanley Kramer's original first cut of this film.* Hence Mr. Harris (best known for his restorations of 1954's "A Star is Born" and of 1958's "Vertigo") has pulled material from all over the world, even from the Far East - to cobble together a film that gives us the most educated vision of what the original "It's A Mad, Mad, Mad, Mad World" looked like - when it world premiered on November 7, 1963.* Please scroll down to Disc 2 of 5 below - and read item #12 - which summarizes the "Restoration Demonstration" feature. I am NOT associated nor friends with any of the film's makers nor with the distributor of this Blu-ray / DVD set.* "Nothing succeeds like excess." - This is the title of a 10-page essay about the film's importance - written by Lou Lumenick, chief film critic of the New York Post. Lumenick's essay appears in full in the 18-page booklet that accompanies this product.* Included is a 6 5/8 x 10 7/8" map - with illustrations of 25 locations throughout Southern California - where the film was shot in 1962-63. According to the liner notes, "Sadly, the Big 'W' where the loot was buried, which was located on private property, no longer stands."* I took a star away because the original 1991 documentary, "Something a Little Less Serious: A Tribute to 'It's a Mad Mad Mad Mad World" - which ran 61 minutes on prior home video releases of this film - is NOT on this product.======================================================DISC 1 OF 5 - (Blu-Ray) - SIX (6) FEATURES.1) RESTORED GENERAL RELEASE VERSION (2 hours, 43 minutes) - This is a restored digital film transfer of the general release version of the film, with a 5.1 surround DTS-HD Master Audio soundtrack (2 hours-and-43-minutes). This version is superb throughout, rendered for the first time in a high-definition picture and booming DTS sound. This is the more commonly-seen version of "Mad World" - and has been rendered in a widescreen aspect ratio of 2.76:1 - and has been broken up into nineteen (19) chapters.* The digital transfer was created in 4K resolution with all dirt, debris, scratches, warps and flicker manually removed - and the result is, in my view, the cleanest, sharpest and most beautiful general release version of "Mad World" ever distributed on home video to date. The general release also boasts new, easy-to-read white-font subtitles that are optionally available over the film itself, including the overture (2:48) - (with lyrics to the theme music provided), the intermission (Entr'Acte, 3:42) and the exit music (2:11).---------------------------2) INTRODUCTION - TV AND RADIO ADS (4:20) - This introduction provides context for the film's original 1963 roadshow advertising campaign, featuring humorist and voice-over artist Stan Freberg's original TV and radio ads.---------------------------3) ORIGINAL AND RE-RELEASE RADIO SPOTS AND MOVIE TRAILERS (17:19) -* 1963 Original Release Promotional Spots - Radio (4:04) - A collection of six (6) radio commercials voiced by Stan Freberg which mirror the manic pace of the film, tagged with information about its impending November 7, 1963 premiere at the Cinerama Dome Theater on Sunset Blvd. in Los Angeles.* 1963 Original Release Promotional Spots - TV (2:31) - A collection of four (4) television commercials - the first of which is funny as all get-out - with Phil Silvers, Sid Caesar, Ethel Merman, Milton Berle, Mickey Rooney, Buddy Hackett and Jonathan Winters - bickering in a TV studio. All four commercials are in black and white and rendered in their original 1:33:1 aspect ratio for television.* 1963 Original Roadshow Teaser (1:27) - A text-animated mini-trailer that uses the original Jack Davis art (which is seen in the film's "style B" movie poster and movie program book) as its centerpiece.* 1963 Original Release Theatrical Trailer (3:27) - A montage of memorable scenes pulled from the film, this trailer - knowing what we know now about the cult classic status of IAMMMMW - is a joy to watch. The trailer also features positive "advance blurbs" from the top critics of the period.* 1970 Re-release Promotional Spots - Radio (2:29) - A collection of three (3) radio commercials that aren't very good. They're mildly amusing but not as funny as the 1963 spots produced by Stan Freberg. The spots includes the first reference to the Motion Picture Association of America's new rating of "G" for General Audiences - tagged at the end of each spot.* 1970 Re-release Theatrical Trailer (3:21) - Similar to the 1963 theatrical trailer, with minimal updates.---------------------------4) "TELESCOPE" (50:18) - This is a two-part 1963 black-and-white feature from the Canadian Broadcasting Corporation's documentary program, "Telescope" - which follows the film's press junket and world premiere. The program is hosted by Fletcher Markle, a name that's "now-forgotten-by-most" viewers today.* Part One - "A Winter's Tale" (24:56) - The episode's name is a play on Jonathan Winters's last name, who dominates most of this otherwise dull documentary about the press conferences promoting the film. Winters, a "new kid on the block" to cinema in 1963, displays his full range of ad-libbing talents for the press, with Merman, Berle and other stars looking on.* Part Two - "A Junket Into Madness" (25:22) - The more interesting of the two episodes in this two-part feature - includes the arrival of the film's stars and other celebrities at the film's premiere - which includes a pre-screening ribbon-cutting - at the brand new Cinerama Dome Theater in Los Angeles.---------------------------5) OPEN-ENDED PRESS INTERVIEWS, 1963 (35:08) - This is described as a black-and-white press interview from 1963 featuring director Stanley Kramer and cast members. But in my view, it's not so much a "real" interview as it is a "staged" attempt to allow local television stations to "customize" their news segments as if their own reporters "were there," asking all of the questions. This historical artifact demonstrates one of the ways films and music were publicized during the 1960s, complete with "open-ended" interviews with the interviewer's questions "cut out," enabling local stations to insert their own reporters "interviewing" the stars. (For this feature, Criterion has added a contemporary voice "asking the questions" based on available transcripts sent to the press.)* The result is sometimes awkward because, 1) some of the questions are inane softballs tossed up to the stars, and, 2) NONE of the stars - at the time this video press kit was filmed - had seen the finished film. There are lots of scratches, dirt, debris and holes in this feature. What stood out to me the most, however, were the numerous mentions of the film's then enormous $9.4 million budget - with director Stanley Kramer openly confessing that he hoped they could "get that money back" from customers. Because of "Mad World's" extraordinary "3 hour and 15 minute" length - (repeatedly referenced here as the film's running time) - there were genuine concerns that "Mad World" would lose a ton of money, which explains why it was butchered and chopped to accommodate exhibitors almost immediately after the roadshow version premiered in Los Angeles.---------------------------6) "STANLEY KRAMER'S REUNION WITH THE GREAT COMEDY ARTISTS OF OUR TIME" (36:46) - Video taped in 1974, director Stanley Kramer hosted this show with Sid Caesar, Buddy Hackett and Jonathan Winters - all reminiscing about the making of "Mad World." This is one of the best special features in that even from the point of view of 11 years after it premiered, the legacy of "Mad World" was already being gilded, with hilariously fond memories and anecdotes being recalled by the cast. Surprising to me was how Buddy Hackett ended up being the funniest guy in the room with his impersonations of fellow cast members, capturing the zaniness that took place on location. This special feature is so good that it ended too soon for me.======================================================DISC 2 OF 5 - (Blu-Ray) - SIX (6) FEATURES.7) EXTENDED, 197-MINUTE ROADSHOW VERSION - (3 hours, 17 minutes, 35 seconds.) - This is a new high-definition digital transfer of a 197-minute extended version of the film, reconstructed and restored by Robert A. Harris using visual and audio material from the longer original roadshow premiere - including scenes that have been returned to the film for the first time since 1963 - rendered with a 5.1 surround DTS-HD Master audio soundtrack, a widescreen aspect ratio of 2.76:1 - and broken up into twenty-two (22) chapters. Unlike the 163-minute general release version, the extended 197-minute version has NO subtitle options.* The extended version begins with "The Overture" (0:2:27 music with black screen); Part One of the feature begins at the 0:2:28 mark and runs until the "Intermission with Police Radio Calls" at the 1:53:04 mark - which "continues the action" of the film as an "audio only" feature heard in the lobbies of roadshow theaters; the "Entr'Acte musical portion of this Intermission begins at the 1:59:25 mark; Part Two of the feature resumes at the 2:03:04 mark; the film concludes at the 3:15:10 mark, followed by Exit Music (2:25). From start-to-finish, the extended feature runs 197-plus-minutes (3:17:35).* Contextual Note: The original roadshow version of "It's A Mad, Mad, Mad, Mad World" that premiered on November 7, 1963 - ran approximately 202 minutes (3 hours, 22 minutes) including the overture, intermission and exit music.* With director Stanley Kramer's help, it was cut to 163 minutes for later engagements. Much of the nearly 40 minutes that Mr. Kramer cut from the film is LOST forever. About 20 minutes of this "cut footage" was recovered from old 70mm prints around the world - or as "audio only" artifacts.* In 1991, MGM/UA released an extended version of "Mad World" on laser disc and on a 2-tape VHS set that integrated all available footage at that time (182 minutes). This Criterion Blu-ray/DVD set goes further by about 15 minutes (197 minutes). To maintain continuity, Robert A. Harris's team inserted still photos from the film - accompanied by sub-title headings at the bottom of the screen - which identify where only audio is available for footage that remains lost.* The restoration's limitations start showing up 26 minutes into the extended version, with flickering, color fading and color shifting, audio lags where recovered trims, some as short as a few seconds, were re-inserted into the reconstruction of the roadshow premiere. At the 42-minute mark, we run into the first major section, which runs under two minutes, where lost footage has been replaced with photographs and a subtitle headline at the bottom of the screen noting missing film while dialogue continues to play from audio tracks that still survive. ** For more information about why Robert A. Harris's restoration team decided not to further tinker with color fading, color shifting and audio drops, see "Restoration Demonstration" feature summary below, item #12.---------------------------8) NEW AUDIO COMMENTARY (3 hours, 17 minutes.) - The audio commentary features "Mad World" aficionados Mark Evanier, Michael Schlesinger and Paul Scrabo.---------------------------9) EXCERPTS FROM THE 2000 AFI PROGRAM, "100 Years...100 Laughs." (11:10) - This is the un-cut segment - some of which was never broadcast in full on CBS in 2000 - about the influence of "It's A Mad, Mad, Mad, Mad World," which ranked #40 in the American Film Institute's list of the 100 funniest movies ever made. High-definition clips from "Mad World" have replaced standard definition footage that was originally used for this segment. Original interviews remain in standard definition 1.33:1 aspect ratio, featuring Carl Reiner, Whoopi Goldberg, Alan King, Milton Berle, Mickey Rooney, Charles Grodin and Janeane Garofolo.---------------------------10) "THE LAST 70MM FILM FESTIVAL." (37:38) - "The Last 70mm Film Festival" was part of an extended program of 70-millimeter films screened in 2012 by the Academy of Motion Picture Arts and Sciences. The inaugural event featured a panel interview with the surviving cast and crew of "It's A Mad, Mad, Mad, Mad World" - followed by a screening of the film. Hosted by Billy Crystal, this segment has a bittersweet feeling to it, in that a handful of guests were in wheelchairs and/or needed assistance to get to their seats on stage at the Samuel Goldwyn Theater in Los Angeles.* The panel included Carl Reiner, Stan Freberg, Barrie Chase (still looking marvelous, 50 years later), Karen Kramer (wife of late director Stanley Kramer), casting director Lynn Stalmaster, script supervisor Marshall Schlom (who never gets to speak), Marvin Kaplan (who's very funny), Mickey Rooney (who's mostly incoherent) and the late Jonathan Winters (ditto). This event was filmed on July 9, 2012.---------------------------11) SOUND AND VISION (36:28) - This is a spectacular, not-to-be-missed documentary about the film's visual and sound effects, featuring never-seen back lot footage and interviews with visual-effects specialist Craig Barron and sound effects designer Ben Burtt. This documentary reminds us that all of the effects seen or heard in "Mad World" were done by hand. There was no computer-generated animation. The stunts were real, the stunt-people themselves risked their lives and all of the sounds were re-created in studio.* The most fascinating examples to me included: How the plane "piloted by Buddy Hackett and Mickey Rooney" in the film - made it through a low-ceiling hangar AND a full-sized Coca-Cola billboard without crashing; how the interiors of the "condemned building" at the end of the film were created with matte paintings - and "filled in" with studio footage; how the ladder and street scenes at the end were also shot in studio, outside on the Universal Studios lot and integrated with matte paintings and street footage shot elsewhere - from every camera angle imaginable; how the "ladder scene" is a beautiful mix of footage with real actors, real stunt men and miniature puppets. Yes, that's right. Those figures you see flying off the ladder into windows and awnings were puppets. They had to use stop-animation to get them to twirl correctly off the ladder; also amazing is how the shot of the guys hanging from palm trees at the end was done, as well as how a stunt man had to time "Dick Shawn's" fall from that tree perfectly - so that he could appear to slide and plow smoothly onto a very long picnic table. This is truly amazing, off-the-charts stuff.---------------------------12) RESTORATION DEMONSTRATION (5:19) - Again, I wish the makers of this Criterion set - had put this special feature FIRST - at the beginning of the extended, 197-minute cut of this film.* As mentioned above, Robert A. Harris's team had enormous problems restoring this film, unlike anything encountered previously. The recovered 65mm color roadshow negative was in terrible condition, filled with warps and stickiness - and the color separation masters had to be JUNKED because everything had faded to a pinkish magenta. How they got around this is technical, but the nuts and bolts of the restoration involved: scanning and stripping the magenta out, flattening the curvature distortion of the image that was in the negative caused by lenses used to shoot "Mad World" in Ultra Panavision for Cinerama, matching color available from 70mm footage around the world - and from standard definition laser disc and VHS re-issues in 1991 - and finally - trying to get EVERYTHING to "fit back" into the original 2.76:1 ratio of the original roadshow premiere.* For the extended 197-minute version of the film - recovered footage was pulled from 70mm print trims, which were in turn scanned in high-definition. When necessary, 3D warping technology was used to blend the trims with standard-definition transfers - to compensate for color fading. The results were mixed. Some color could not be fixed, and artificially colorizing using computers was out as an option for this classic vintage film. Meanwhile, the audio for the recovered footage was pulled from the original magnetic tracks from the roadshow premiere - and from the 70mm trims. But as noted previously, because some scenes exist ONLY as audio, photos were inserted with titles at the bottom to keep the story moving.* In sum, what these efforts mean to me is this: The restorers had a hard decision to make. Should they computer colorize everything that was faded, like the crayon efforts to colorize "Casablanca" in the 1980s - or should they stick to the spirit of the roadshow release and "reconstruct" everything as it was using the BEST tools available - using the roadshow 2.76:1 aspect ratio as the gold standard?* Harris's team chose the latter. The result to perfectionists is an imperfect result - which angry reviewers have complained about. There are color shifts and washed out images, black-and-white "edges" where color couldn't be restored - because corrected footage in 2.35:1 aspect ratio couldn't be laid over the entire 2.76:1 frame - which also left behind jarring, one-second-long audio drops resulting from mixing 70mm trims with 65mm trims into a single 197-minute version with a consistent 2.76:1 widescreen aspect ratio from start to finish - which matches "Mad World's" roadshow premiere.* It's all explained in this five-minute feature - and had Criterion pushed this at the forefront - I'm sure there would have been far fewer complaints. Personally, I am blown away with the end product, with all of its "glorious" imperfections. I love it and think the restoration is astonishing. I'm glad Harris's team didn't artificially boost and saturate the color of this lost footage with computers - which would have looked like something from 2014 instead of 1963, artistically different from director Stanley Kramer's original first-cut.* It's also noteworthy that this special "Restoration Demonstration" feature openly acknowledges "Mad World's" problems. It cites legendary director David Lean's comment about film restoration - (whose own 1962 classic, "Lawrence of Arabia," was also restored by Robert A. Harris to a far less extent). Lean described restoration as a thing stitched together like a Navajo blanket, resulting in something that's "beautifully imperfect." In my view, this accurately captures what this 197-minute extended version looks and feels like: a work of history brought "back to life" in the best possible way.============================================================================================================DISC 3 OF 5 - (DVD) -1. RESTORED GENERAL RELEASE VERSION (2 hours, 43 minutes) - (See disc 1 of 5 above, item #1.)2. INTRODUCTION - TV AND RADIO ADS (4:20) - (See disc 1 of 5 above, item #2.)3. ORIGINAL AND RE-RELEASE RADIO SPOTS AND MOVIE TRAILERS (17:19) - (See disc 1 of 5 above, item #3.)4. EXCERPTS FROM THE 2000 AFI PROGRAM, "100 Years...100 Laughs." (11:10) - (See disc 2 of 5 above, item #9.)======================================================DISC 4 OF 5 - (DVD) -5. EXTENDED, 197-MINUTE ROADSHOW VERSION - (PRESENTLY UNDER REVIEW.) - (3 hours, 17 minutes, 35 seconds.) - (See disc 2 of 5 above, item #7.)6. NEW AUDIO COMMENTARY (3 hours, 17 minutes.) - (See disc 2 of 5 above, item #8.)7. RESTORATION DEMONSTRATION (5:19) - (See disc 2 of 5 above, item #12.)======================================================DISC 5 OF 5 - (DVD) -8. "TELESCOPE" (50:18) - (See disc 1 of 5 above, item #4.)9. OPEN-ENDED PRESS INTERVIEWS, 1963 (35:08) - (See disc 1 of 5 above, item #5.)10. "STANLEY KRAMER'S REUNION WITH THE GREAT COMEDY ARTISTS OF OUR TIME" (36:46) - (See disc 1 of 5 above, item #6.)11. "THE LAST 70MM FILM FESTIVAL." (37:38) - (See disc 2 of 5 above, item #10.)12. SOUND AND VISION (36:28) - (See disc 2 of 5 above, item #11.)

There can never be a true remake of this classic comedy. A few have tried claiming they were "inspired by" but have failed anyway. Stanley Kramer's epic "Comedy to end all comedies" had an amazing cast of comic actors old and (at that time) new which could never be recreated. It is a snapshot of a particular moment in time when comedians stretching back to the borscht belt and vaudeville met up with a new generation of comics working in clubs and on television. In fact many who had had small careers in films had found a much larger audience in the relatively new medium of TV. It may not be the funniest film ever made - that is every person's own opinion - but it is funny and succeeds in the impossible task of keeping up an atmosphere of comic mayhem for over a 2 1/2 hour running time. Enormously popular in its day (it was the third highest grossing film of 1963 taking in over 45 million) it has become a greatly beloved classic even now, over fifty years later.It was written by British screenwriter William Rose, who had written the Alec Guiness comedy, The Ladykillers. It was written originally as a madcap chase through Scotland. He sent an outline to director Stanley Kramer. I'd love to know why, because Kramer was a director of big, serious films with important social messages like The Defiant Ones (racism), On the Beach (atomic war), Inherit the Wind (freedom of speech) and Judgement at Nuremberg (the aftermath of World War II). He would seem like the worst possible choice to pitch a comedy to, but maybe the word was out that Kramer was interested in making a comedy, perhaps to not be typecast. Once things got going, the production, much like the film itself, took on a momentum of its own and soon practically every comedian in town was calling Kramer asking to be in it.There are so many great actors in roles big, small and in cameos that it would take up too much space to name them all. It was great to see some of the older cast members like Jimmy Durante, Ethel Merman and Milton Berle go out with a big film that would be remembered. Actors in smaller roles often put in hilarious performances doing their usual schitck. Paul Ford as the bumbling Colonel Wilberforce (he had been the bumbling Colonel Hall on the Phil Silvers Show); Jim Backus as rich alcoholic Tyler Fitzgerald (it adds an extra laugh to know he was the well-known spokesman for Western Airlines whose tagline was "It's the only way to fly"); and Don Knotts in his nervous man routine. British comedian Terry-Thomas got roles in major pictures for years afterwards. Some faces, like Jesse White (TV's Maytag repair man) were only known from television exposure, which is probably missed by aOne would have wanted to see the cameo actors a little longer and some were underused (Stan Freberg, Edward Everett Horton) but the movie was originally over three hours as it was. The Three Stooges are only on for a few seconds and don't actually do anything but stand there but I can attest that they got a huge laugh from the audience just for being there.All of the principals were at their best. Even when they didn't have a line, just watching their faces is hilarious. But it was Jonathan Winters in his first film role who is most remembered. His eight minutes of total mayhem in Ray & Irwin's Garage is one of the great comic scenes in any movie. Again I can attest that in its first run in late '63 the audience was in a state of total sustained pandemonium almost literally rolling in the aisles as this scene played out. I've never again experienced an audience in so complete a state of hysteria.The film also has great support from the entire production team. There is one of the great comic scores of all time by Ernest Gold, a mad carousel-out-of control theme that wildly creates the right mood during legendary animator Saul Bass's creative title sequences. Despite its assertive character the music doesn't try to dominate the film but drops in now and then to enliven a driving scene that would look dull if silent or to accent brief moments of pandemonium. The film was beautifully shot in Super Panovision 70, which simulated a Cinerama effect without the "seams" created by the old three-camera process. And the scenery is spectacular with the Southern California desert, coastal towns and aerial footage. The editing, sound effects people and stuntmen were all major contributors to the film's success.Not everyone liked it and this is still true. A number of the critics of the day dismissed it as too dumb for words. But you have to understand that many critics of that era and before were very high toned and felt only films of great intellectual depth were worth seeing. Bergman, yes, but not something like this. It took until the early 80's for film critics to loosen up a bit and admit they could like both types of films. Others found it too long and too slapstick. Both accusations are true in their way but this was meant to be gargantuan and its excess is part of its nature. Also, a big film made with a big budget had to be pitched to a large general audience and so it needed to have lots of broad humor and not be a witty comedy of manners or something like that. Besides, it's kind of an homage to the whole history of film comedy and actually uses a lot of classic silent comedy bits. All in all the film knows exactly what it is doing, building on its momentum to its conclusion. And it's still a Stanley Kramer film and does contain a deep, cynical observation that totally nice, everyday people can go entirely insane over money as can the entire culture. The movie ends nicely with what could be a nod to Preston Sturges' Sullivan's Travels, illustrating the value of laughter on the simplest level with the oldest joke in the world.Amazon's streamed film looks beautiful. I saw a streamed version a few years ago in the early days of streaming and it looked terrible because it had that over-sampling problem that made it look like daytime television, like it had been shot on somebody's video camera. I'm happy to say there's no trace of that. There are some great tributes, interviews and clips etc. on YouTube and I'd like to point out two really good ones. One posted by The Criterion Collection as "Location Comparison" shows many of the main locations then and now. There are others like this but this one is professionally shot at the exact camera angle as the film. The second is a "Cast Guide" that posts the name and dates of virtually everyone who appeared in the film while showing you a scene they're in.EXTRA NOTE: A few major comics wanted to be in the film but couldn't for one reason or another. Bob Hope's studio wouldn't lend him out even for a cameo. Lucille Ball was too tied up with her TV show being taped for the coming season. Red Skelton's manager wanted him to be paid the same as the primary cast even for a cameo. Stan Laurel sent regrets but said he had sworn never to appear in a film again after Oliver Hardy's death and could not break his word.

A fatally wounded car crash victim, (Jimmy Durante) knowing he's about to literally kick the bucket, informs a skeptical bunch of onlookers that there is an enormous stash of cash buried some two hundred miles away in a famous park “under a big W, a big W I tell ya”. As the onlookers continue their journeys they all decide to go take a look. And so starts a truly madcap race to be first to dig it up.Stanley Kramer's tremendously entertaining and lavish comedy of errors has just about every great name in comedy from the 50's and 60's chasing that cash. Essentially a race/road film from the off, we follow Sid Caesar, Milton Berle, Micky Rooney, Jonathan Winters, Terry Thomas, and a host of other big name stars on the maddest race ever put to film to find that buried loot. Along the way there are so many laughs the 159 or 197 minute version just flies by.Any film made in the sixties inevitably looks a bit dated today, the fashions, the cars, the language, the sexual and race politics, the jokes, however great visual comedy never seems to age, a prat-fall today is no different to one over 50 years ago and it's just as funny or unfunny as is the case. Lots of physical film funny business is wonderfully choreographed into all that motorized mayhem and compliments the pitch perfect performances from all concerned. For me however Jonathan Winters slightly unhinged truck driver and Phil Silvers sleazy conman stole the show even with all that talent competing for screen-time. If you can accept it for what it is, a product of it's time, and not impose more recent enlightened ideas about gender, race, age etc you will find so much to enjoy.You may not recognise all the actors on show but you will recognise many of their voices, Mr Magoo, Top Cat and many other voice over actors made small appearances, as Does Jerry Lewis and The Three Stooges, but blink and you will miss them.A massive hit worldwide, it took over 6 times it's budget and proved that big budget comedies can work. There was talk of a remake a few years ago with Robert DeNero and Ben Stiller but it seems to have stalled or been shelved. If they make one I will be first in line, although I doubt that the original magic could be replicated.My US import Blu Ray has a very nice 60 minute documentary about the film that although not exactly earth shattering has many of the cast and crew talking about their experiences.Great entertainment all round.

Yes, this is more expensive than your average blu-ray. But if you're a fan of classic comedy it's well worth the outlay. Because you're very unlikely to find this at your local charity shop. And although this film still gets the occasional airing on the schedules and streaming services in the UK it's always in its shortened format. Here the restored original is presented. It's the ultimate rainy Sunday afternoon film.There are some genuine laugh out loud moments: especially Jonathan Winter's scenes and the aerial sequences. The slapstick is well done and, unlike some US comedy films, not overdone. Mind you the cast is as close to perfect as you could get at the time. It has dated, but that adds to its charm - just leave your woke/PC head off when you watch it! And anything with Terry Thomas in it is normally worth a watch - he's on good form here along with the rest of the cast.There are some great bonuses too.

Great edition with an awesome picture/sound quality (only on the original version) and good extras too. And besides that you have an art book with some cool drawings and some explanations about the history/production of the movie, wich is great for collectors like me... Altough in my opinion it was a bit expensive, it costed me 26€. I rather prefered only the normal version for half the price. And on the director's cut version some of the deleted scenes are photos taken during the production... In my opinion there is no logic adding photos as deleted scenes in a movie... And on the normal deleted scenes also included on the director's cut version the image is really bad, and honestly those deleted scenes didn't add nothing interesting to the movie... For a criterion version expensive as this one they should have treated the deleted scenes way better, so that they could fit perfectly in the movie, but unfortunately they didn't... And besides that there are no subtitles of any kind in the director's cut version... But this was the only available version so i bought it anyway. In general i'm happy with this purchase, and this blu ray version was saved by the awesome work done on the original version (4K image resolution and great sound). This is one of my favourite classics of all time and now i finally have it on my collection. But like i said half the price for only the cd of the original version would be a way better purchase in my opinion... Altough i recommend this to all collectors that love good old comedies like me. This is one of the best, If not the best comedy off all time, it's a must have in my opinion. I only rated it 3* because of the price and the poor work done on the director's cut version. So dont think twice and get this while you can, it's worth it because of the great job done on the original version... It's a jewel in the movies history. :)

After many years of reading and hearing about the full 192 minute version I finally have it and boy it doesn't disappoint. It's not all video as a lot has been lost over the decades but what is there is amazing. If your a fan then this is most definitely for you. Well worth the money and it'll be a keeper forever. Great extras....Basically this is a perfect Mad World set,trust me when I say you'll be MAD to miss out on it.

I eventually bought this film ( which is hard to find ) through Amazon. Yes It costs around 20 pounds but it is so funny and is a very good film. With plenty of good characters playing their parts very well. I would say it is a must see. I watched this last night and the second part ( because there is an intermission in the middle, this morning. It will make you laugh even though it seems so dated. A good watch though. PC. 15. 12. 2017.