THE TRUMAN SHOW: 4K UHD Blu-ray (Paramount, 1998) Paramount Home Video
What if your whole life were made
up…or rather, just a psychological/biological experiment, crassly designed for
the ultimate reality show? Director, Peter Weir demonstrates the haunting
absurdity and destructive nature in this social experiment in The Truman
Show (1998). When The Truman Show hit movie screens, ‘reality’ TV was
still mostly in its infancy, primarily dominated by cop and courtroom shows.
Allowing cameras to follow people through their otherwise mundane and oft petty
family dramas would not enter the voyeuristic lexicon for another few years,
though TV’s Big Brother debuted this same year. The proliferation
of ‘reality’ shows since have rendered much of The Truman Show’s shock
value moot. After all, how would such a deviant enterprise work if the principal
player knew not, that his very existence was being pushed and promoted,
triggered and trampled, merely for the sake of a bigger share in the Nielsens? Jim
Carrey, to have shot to the top of his profession as part of the comedic
ensemble on TV’s In Living Color, and then, even more miraculously into
a lucrative movie career was, by 1998, at the pinnacle of his international
popularity. And while Carrey, best known for his overreaching and grotesque
caricatures, in The Truman Show was to tamp down on such mania, finely
finessed into a memorable, and occasionally, heartrending performance as Truman
Burbank (originally conceived for Robin Williams) It was, in fact, at Weir’s behest
that Carrey earned the role, after Weir became particularly enamored with Carrey’s
Chaplin-esque quality in Ace Ventura: Pet Detective (1994).
Star and director got off to a
rocky start, mostly as Carrey not only took the opportunity to proclaim himself
as a dramatic actor, but also demanded rewrites to the screenplay. While Carrey
was then commanding a salary of $20 million, he agreed to do The Truman Show
for only $12 million. Eventually, the easy-going Weir settled into Carrey’s
process for improvisation, and a healthy, mutual respect for the work blossomed
between the two. As originally scripted by Andrew Niccol (who also co-produced
with Scott Rudin, Edward S. Feldman and Adam Schroeder), with Brian De Palma assigned
to direct, The Truman Show was planned as a more sinister and unnerving
thriller. Somewhere along the way, this idea morphed into black comedy. With
Weir aboard, Paramount slashed the $80 million budget to $60 million. Undaunted,
Weir and his production designer, Dennis Gassner elected to shoot much of The
Truman Show on location in Seaside, Florida – a gated community in the
panhandle. To hedge his bets, Weir padded the cast with good, solid performers
over big-ticket star names: Laura Linney as Hannah Gill (a.k.a. Meryl Burbank,
Truman's wife), Ed Harris as the maniacal producer of ‘the show’ – Christof (in
a role originally conceived for Dennis Hopper, who signed on, but then departed
over ‘creative differences’), Noah Emmerich (as guilt-ridden Louis Coltrane, a.k.a.
Marlon, Truman's best bud), Natascha McElhone (Sylvia, playing Lauren Garland,
Truman's true love), and, Holland Taylor and Brian Delate (as Alanis Montclair/Walter
Moore respectively, a.k.a. - Angela Montclair/Kirk Burbank - Truman's mum and
dad).
Thematically, The Truman Show
is an exposé on the fallaciousness in ‘reality’ programming, perceived as systemic
in its dumbing down of the audience. Niccol’s modus operandi also served as an
indictment on the power of the media as an influencer of times and tastes. In
such a vacuum of false facsimiles the audience is easily, insidiously, and
subconsciously manipulated. Originally, titled The Malcolm Show, Niccol’s
first draft was pitched to producer, Rudin who paid a cool million for the
rights, on the understanding this would also mark Niccol’s debut as a director.
Alas, Paramount was not at all convinced Niccol could helm an $80-million-dollar
super production. And thus, he was paid ‘extra’ to relinquish this part in their
agreement. De Palma’s name was pitched.
But De Palma failed to show an interest. So, others heavy-hitters came under
consideration: Tim Burton, Sam Raimi, Terry Gilliam, David Cronenberg, Barry
Sonnenfeld and even, Steven Spielberg. Weir’s eventual participation came with
its own demands. He wanted more humor to replace the darker aspects of the story.
And thus, began a tug-o-war, with Niccol writing 16 drafts before author and
director were both satisfied. With the eventual signing of Jim Carrey, Niccol
would go through an additional 12 full rewrites before arriving at the finished
shooting script.
The Truman Show begins with a
tragedy – the babe, known as Truman Burbank, the product of an unwanted
pregnancy, and unknowingly sold to producers as the unsuspecting star of the
worldwide phenomenon - The Truman Show, filmed 24/7 through a virtual reality
photographed from every conceivable angle by hidden cameras. Christof, the
program’s creator, and, executive producer, is determined to give the audience
a relatable everyman. The town of Seahaven is an enormous set built within a
dome, in which all aspects of filming, down to the ‘weather conditions’ are a
total fabrication of Hollywood dream factory magic. To prevent Truman from
discovering this, and also to quell his natural thirst for exploration, Christof
orchestrates intentionally cruel scenarios, such as the ‘death’ of his father at
sea to keep Truman in his place. During his college years, Truman unexpectedly
fell in love with Sylvia – an extra. As Christof’s plans were to have Truman
wed Meryl instead, Sylvia was removed from the show before she could disclose
the truth to Truman. Considered a disgruntled employee, on the outside, Sylvia
has since joined an activist group, demanding the dissolution of the show and
full-disclosure to Truman.
Now, age thirty, Truman’s faith in
the only reality he has ever known is shaken when a spotlight falls ‘from the
sky,’ narrowly missing him. Soon thereafter, Truman takes notice the town he
thought he knew has begun to behave strangely towards him. He even thinks he
catches a glimpse of his ‘late’ father in a crowd. After a road trip with Meryl
results in an altercation with a cop who, presumably, he has never met, yet who
knows his name, Truman suffers a breakdown. Finding Meryl doing ‘product
placement’ in their living room, he takes ‘his wife’ hostage, believing her to
be a part of this creative conspiracy. Of course, he is correct in this
assumption, though the depths of that betrayal are something he, as yet, cannot
fathom. To quell Truman’s anxieties, Christof reinstates his ‘father’ to the
show. Kirk feigns a bout of amnesia following his boating accident. For a
while, Truman reconsiders his reality. And although not entirely accepting of
it, he begrudgingly returns to his daily routines.
However, not long thereafter,
Truman discovers a tunnel in his basement and follows it to the other side of
the vast soundstage. Christof is forced to suspend the show. Conducting a ‘citywide’
search for Truman, Christof breaks the day-for-night barrier, locating Truman in
a sailboat, attempting to conquer his fear of the water, but also, determined
to escape from the only home he has ever known. To prevent Truman from reaching
the painted diorama at the end of the large tank mimicking the ocean, Christof
instigates a faux ‘storm at sea.’ Truman is capsized and almost drowns. But his
determination is unbowed. Reaching the end of the tank, Truman discovers a
staircase leading to the outside world. Over a loudspeaker, Christof implores
Truman to reconsider what his life will be like in the real world. And although
terrified by the endless possibilities, Truman refuses to relinquish his
newfound freedom. Instead, he opens the door, discovering a tearful and
grateful Sylvia waiting for him on the other side.
The Truman Show is an
unsettling science-fiction drama, begging the query as to how far television programming
would actually stoop to achieve its ratings. Decades ago, screenwriter, Paddy
Chayefsky, the genius behind another exquisite denunciation of the television
age, 1976’s Network, inferred TV had yet to tap into ‘public execution’
as the ultimate in ‘reality’ programming. The Truman Show gets us closer
to this devastatingly calculated and deviant eon, advocating for the
deprivation of a man’s existence as a life in service to the small screen. Jim
Carrey’s restrained concentration as the titular hero gets very high marks
here. Carrey allows the gradual dissolution of the only memories Truman Burbank
has ever known – or rather been programmed to respond – to show through in
awkward glances, turned to chary panic, and finally, a defiant search for the
truth launched against the puppet master previously responsible for his fate.
Ed Harris’ Christof is what Paddy Chayefsky would likely have called “pure
television” – a pertinacious zealot of the post-modern/boob-tube generation,
slavishly devoted to its forgeries of reality, even more insidiously peddled as
pre-processed pop culture to an audience complicit after the fact. Paramount’s
initial concern, that the picture was too ‘highbrow’ for mainstream audiences
was fast discarded when The Truman Show went on to earn $264 million on
its $60 million outlay.
And now, The Truman Show makes
its long-overdue debut in 4K. Aside: a genuine pity Paramount did not see the
need to remaster a standard Blu-ray from these same 4K elements for those, as yet,
unequipped to appreciate native 4K in their home theater settings. There is a
Blu-ray included herein. But it is of the same tired old Blu issued from Paramount
in 2015 with flat, pasty colors and a ton of DNR liberally applied to homogenize
the image all out of proportion. So, prepare to be dazzled by what is on the 4K,
because The Truman Show in 4K sparkles with a visual brilliance unseen
since its theatrical release. The high-key-lit color palette pops with exotic
hues. The white facades of Seahaven sparkle, but never bloom. And the punchy
colors in clothes and foliage really look marvelous. Flesh tones are gorgeous. Ditto
for film grain, accurately reproduced. And contrast is bang-on perfect. Wow!
The Dolby Atmos track doesn’t add
all that much in the way of ambience as this is a primarily dialogue-driven
movie, sparsely underscored by Burkhard Dallwitz, Philip Glass and Wojciech Kilar. The
5.1 DTS, also included, is adequate here. There are no extras on the 4K. The
Blu contains everything that was available before: two, very unremarkable
featurettes – junkets, on the making of the movie, some needless outtakes/deleted
scenes, a photo gallery, trailer and TV spots. Bottom line: in an age where
ever movie being heavily promoted is either a pre-processed/consumer-marketed
prequel, sequel or latest installment in a franchise already well-worn out its
welcome, it is exhilarating to see The Truman Show once again, and
looking so miraculous from start to finish in ultra-hi-def. Its’ awe-inspiring
originality continues to hold up so well under scrutiny. There was nothing
quite like it before, and certainly, nothing ever again to duplicate it. Decades
after its theatrical release, this one still has a story to tell. Paramount’s
4K has been superbly rendered. Paramount is very big on slapping ‘anniversary’
signage on its latest spate of home video releases. Don’t let that fool you.
Despite this being a 25th anniversary, there is absolutely nothing
special – outside of the UHD image quality – to mark the occasion. Very highly
recommended!
FILM RATING (out
of 5 – 5 being the best)
4
VIDEO/AUDIO
5+
EXTRAS
1
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