Andrew reviews the technical merits of the Interstellar Blu-Ray release.
The Video
The theatrical release of Interstellar is a curious one given just how many versions were presented to the public and debate over which version was the truest to Nolan’s vision. Since a majority of the film was shot on 35mm in the aspect ratio of 2.40:1 with key sequences shot in 65mm at 1.43:1, the press release explained how each and every edition from digital IMAX to uncompressed 70mm IMAX film would affect the viewing experience. IMAX 70mm film got the native ratio shifting unaffected, where IMAX Digital shifted between 2.40:1 and 1.90:1 for the IMAX sequences, general release at 2.40:1 and 70mm film at 2.20:1. For this Blu-Ray edition, Paramount went with the 2.40:1 and 1.90:1 edition, finding a moot point by slightly cropping the IMAX footage but maintaining intended the aspect ratio shifting masked by the general and 70mm release versions. Needless to say, the transfer on Blu-Ray is flawless and accurately reflects the theatrical experience on home video! Images are pristine and the depth of the 65mm cinematography is rendered beautifully on Blu-Ray. For those who are eager to demonstrate their new HDTVs, this is prime material for the task! Among the film’s most stunning visual moments comes early in the film as the rocket ship leaves the Earth’s atmosphere. The images of Earth are as vibrant and rich as anything you’ve ever seen on a home theater! Detail is sharp and free of digital noise, and distant stars and objects aren’t lost in the transfer process. While there will never be anything quite like seeing it in IMAX 70mm film, this Blu-Ray comes pretty close.
The Audio
The experience of Interstellar wouldn’t be anywhere near as powerful without the thunderstorm that is the film’s soundtrack. Presented in DTS-HD 5.1 surround, the sound design is deep and enveloping with surround effects and a balance between pin drop quiet interspersed with moments of deafening howls of noise. Sounds of grains of sand from violent dustbowls or tidal waves with white caps bristle against the ears with crystal clarity. The shift between silence and furious racket is reflected both in the sound effects and in particular, the music, which seems to play into the IMAX sequences. Take, for instance, the scene where Cooper pleads with his daughter to allow him to leave on a positive note, one which sadly ends in desperation and grief. Hans Zimmer’s Oscar nominated score emerges as a low rumble of strings and synthesizers before roaring into a firestorm of amplified emotion, augmented by the rise in volume and IMAX shifting. Later still, there are a number of scenes that genuinely reminded of the nuanced sound mix in The Exorcist with how sounds of rocket boosters, black holes and airlocks explode with sound before abruptly cutting to silence, making the jarring moments all the more startling. While some listeners have of course complained the mixers should have gone with a 7.1 surround track, the 5.1 mix packs quite a punch and won’t detract from how it sounded in theaters.
The Extras
While some editions of the film offer unique extras over others, the discs themselves have the same eclectic lineup and they don’t skimp on that department here. Included on a second Blu-Ray disc, the set includes several making-of documentaries detailing nearly every aspect of the production and an extended version of the televised science documentary The Science of Interstellar. What Christopher Nolan fails to provide in terms of an audio commentary he more than makes up for with his frequent involvement in the extras, from how the visual effects were achieved, how sets were constructed, Hans Zimmer’s evocative score, shooting in Iceland for interplanetary scenes and how the numerous scenes involving artificial zero gravity were created. I’ll admit I was somewhat disappointed when I found out how the Tesseract sequence was pulled off, but was impressed nonetheless by how little CGI was used in lieu of building a full sized set with the effects happening in front of the camera instead of post-production.
-Andrew Kotwicki