Claudine Blu-ray offers solid video and reference-quality audio in this excellent Blu-ray release
In 1970s Harlem, garbage collector Roop feels intimidated by the idea of dating Claudine who is a single mother of six on welfare.
For more about Claudine and the Claudine Blu-ray release, see Claudine Blu-ray Review published by Brian Orndorf on December 17, 2020 where this Blu-ray release scored 4.0 out of 5.
In the early 1970s, while producers were creating heroes (and antiheroes) out of black characters with violent pictures, 1974's "Claudine" emerged as
a softer understanding of struggle and survival. Written by Tina and Lester Pine, the tale features a mother of six kids trying to find a way to support
her family, deal with employment, and care for her own mental health as she embarks on a new relationship. "Claudine" strives to be lighter at times,
hoping to charm viewers with bright personalities, but there's also a rawness to the endeavor, with stars Diahann Carroll and James Earl Jones using
the opportunity to deliver outstanding performances that feel every inch of stress the Pines create.
In Harlem, Claudine (Diahann Carroll) is exasperated, living to raise her six children while secretly working as a housecleaner to help support her
welfare benefits. She finds some comfort in Rupert (James Earl Jones), a garbage collector extremely attracted to her, actively trying to land a date.
While the pair connects during the never-ending bustle of their domestic lives, Claudine is pushed to the brink of sanity as she navigates the welfare
system, Rupert's problems, and the unruly lives of her children, with Charles (Lawrence Hilton-Jacobs) growing to resent his parent as he begins to
challenge social issues on his own.
"Claudine" presents a blizzard of energy emerging from the titular character's small apartment. From the opening scenes, viewers understand
exactly what kind of madness Claudine's presides over, managing various kids and their special needs, including bathroom time and sibling
antagonism, as the children compete for attention while the older ones dread taking on childcare duties. There's a wild level of agitation overseen by
director John Berry, who generate an exact understanding of Claudine's headspace as she juggles responsibilities and concerns, including her
welfare status, trying to remain in a system that's meant to support those in need but acts as more of a prison, punishing those who attempt to
better their lives. Such pressure is applied by periodic visits from Miss Kabak (Elisa Loti), a welfare agent who smugly itemizes every household item
Claudine can't hide from her, also working with neighborhood snitches to keep the harried mother in line.
What Rupert brings to Claudine is a fleeting feeling of escape, giving the 36-year-old mother a love interest and sexual partner. However, as smooth
as he presents himself, Rupert has problems of his own, and the writing gracefully develops such frustrations along the way, bringing dimension to a
character who initially gives off the vibes of a predator, out to use Claudine with his lustful intent. Nothing is really as it initially seems in the movie,
which has a wonderful way of dodging cliché and exploring personalities with concern, not condemnation. Claudine isn't a victim, but she's buried by
her life choices, trying to use help to better her situation, finding a level of partnership with Rupert as she continues to fight daily battles with the
system, her kids, and herself. "Claudine" doesn't always offer a smooth flow of issues, but there are distinct emotions in play.
Listed as a "New 4K digital restoration," the AVC encoded image (1.85:1 aspect ratio) presentation provides satisfactory clarity throughout, with
textured facial surfaces and dimensional apartment visits and city shots. Costuming remains fibrous. Colors are vibrant, dealing with period hues which
favor orange and brown, while more direct primaries emerge on clothing and decorations. Skintones are natural. Criterion's love of teal remains here,
changing blue skies and welfare office walls. Delineation is satisfactory. Grain is heavy and looks a bit processed at times. Source is in excellent
condition.
The 1.0 LPCM mix secures the emotional urgency of "Claudine," delivering crisp dialogue exchanges, while argumentative behavior remains comfortable,
never slipping into distortive extremes. Soundtrack selections retain driving beats and warm vocals. Atmospherics are basic, but communicate hectic
apartment activity, city life, and office commotion.
Commentary features actors Diahann Carroll, James Earl Jones, and Lawrence Hilton-Jacobs, filmmaker George Tillman
Jr., and Dan Pine, son of screenwriters Tina and Lester Pine.
Interview (30:50, HD) is an appreciation piece with Robert Townsend, who shares his love for "Claudine" over a video
conference call with film programmer Ashley Clark. Townsend recalls his first viewing of the picture and its immediate impact on him as an actor,
connecting to its depiction of "hood" life, which he experienced during his formative years. The conversation tries to identify the movie's place as an
alternative to blaxploitation, and Townsend details his time directing Diahann Carroll on "The Five Heartbeats," paying off years of fandom. Casting is
examined and characters are analyzed, including a breakdown of the "welfare queen" label. Technical achievements are highlighted, with work from
director John Berry and music by Curtis Mayfield adored by the interviewee. The talk closes with an assessment of production inclusion from Third
World Cinema and Townsend himself, and he shares how much "Claudine" has personally influenced him.
Audio Interview (21:57, HD) is a 1974 recording of Diahann Carroll making an appearance at the American Film Institute
for their "Master Seminar" series. She shares her early years in acting, working with Lee Strasberg to help find her focus, graduating to Broadway
work in "No Strings," winning a Tony Award for her efforts. With the television show "Julia," Carroll became a star with a show she eventually fell out
of love with, also noting casting struggles over the years. Revealing that "Claudine" was originally written for white characters, the interviewee
examines the racial change and her challenge taking over for actress Diane Sands, who left the shoot and died shortly afterwards. Character beats
are detailed, partnering with co-star James Earl Jones to make something meaty out of their parts. A recollection of the director is provided, and
Carroll explores the slow roll-out of "Claudine," as 20th Century Fox had no clue what to do with the feature, only to see gain incredible word of
mouth, inspiring multiple theater expansions.
"Uncovering John Berry" (19:54, HD) is an appreciation piece from critic Imogen Sara Smith, who details the subject's
experiences as a young man in New York, working his way to the stage, soon joining the Mercury Theater and Orson Welles. Early experiences with
racism helped to shape his life, which was eventually challenged by the Red Scare. Fleeing to Paris, Barry experimented with literary efforts, plays,
and filmmaking, reclaiming his career through his time with the black experience. Some talk of "Claudine" is offered as well in this biographical
featurette.
And a Theatrical Trailer has not been included on this release.
While the screenplay offers many subplots, it's the performances that keep "Claudine" fascinating, watching Carroll and Jones embrace the acting
challenge, juggling the theatrical nature of the screenplay and the abyssal feelings the lead characters struggle to process. The picture has a vivid
understanding of dissatisfaction, though Berry remains committed to providing something sweet to go along with all the aggravation, managing mood
with an excellent soundtrack (written by Curtis Mayfield) and scenes of tenderness. Even at its most artificial, "Claudine" feels real, addressing issues
and identifying resilience with interesting sharpness.
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The Criterion Collection has announced its October batch of Blu-ray releases. They are: Pierrot le fou (1965), Claudine (1974), The Gunfighter (1950), The Hit (1984), and Parasite (2019).
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