Why So Blu?

Small Axe – The Criterion Collection (Blu-ray Review)

It was an absolute delight to learn director Steve McQueen’s Small Axe anthology series would be coming to Blu-ray via the Criterion Collection. Aired as a 5-week event on the BBC in the U.K. and having debuted on Amazon Prime Video in the U.S., this was rightfully deemed event viewing in the realm of empowering stories addressing race relations during a particular time period in London’s West Indian community. Taken as a whole, Small Axe would emerge as my number one pick for the best 2020 had to offer, with at least two of the entries earning their regard as the best the decade will have to offer. This Blu-ray set features all five films, along with a lengthy documentary, proving to be one of the most exciting releases I was happy to get my hands on.

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Film:

(Reviews originally published November 2020)

‘Small Axe’ is an anthology comprised of five original films directed by Steve McQueen, and set from the late 1960s to the mid-1980s, telling personal stories from London’s West Indian community, whose lives have been shaped by their own force of will despite rampant racism and discrimination. This title is derived from the African proverb, “If you are the big tree, we are the small axe,” later popularized by Bob Marley & the Wailers.

Mangrove

As I’ve seen in each of his cinematic efforts, writer/director Steve McQueen is a studied filmmaker. His films have a continual throughline revolving around characters who suffer despite their drive to continue forward. It makes for heavy drama, but thanks to the director’s considerable talent, everything from Hunger to 12 Years A Slave to “Mangrove,” the first entry in his Small Axe anthology series, speaks to a filmmaker making deliberate choices that may enhance the tension and spectacle on display, but also feel very inviting to watch. As McQueen’s past few efforts have pushed further toward calling attention to societal injustices, among other relevant themes concerning race and class, “Mangrove” is a terrific start to something special…

… It is difficult to say the timing of “Mangrove” couldn’t be better, as it makes me distraught to think events from five decades ago are still being dealt with now, in new forms. The issues in this episode may have been focused on the other side of the pond, but they are important and still maddeningly relevant nonetheless. I can’t say watching this expression of art is the thing that will make the difference. However, watching “Mangrove” and feeling caught up with emotions concerning the state of things feels like a way of knowing McQueen has properly focused his sights on what he knows is out there and is pushing back in the ways he knows he can. The results have led to a wonderfully handled cinematic installment to kick things off.

Read the entire review HERE.

 

(Note: Cinematographer Shabier Kirchner shot each film utilizing different cameras and aspect ratios to give the various entries their own look and feel. As such, I’m dividing up the video sections to best reflect whatever differences they may have.)

Video:

Encoding: MPEG -4 AVC

Resolution: 1080p

Aspect Ratio: 2.39:1

Details: This new digital master was created in 2K resolution from the 35mm original negative.

Clarity/Detail: Shot on film, there’s a clear texture allowing this late 60s set film to reflect a certain kind of mood not unlike other films of the time. It’s not a full push back to an older style of film, but there’s effort made that can be found in how the level of detail is conveyed. Seeing the inside of Frank’s restaurant, in particular, allows a clear look at how culture dominates the approach to this entry. The courtroom trial that dominates the second half is colder in look, yet still packed with details, such as the robes and wigs on display.

Depth: Another way the trial factors in is in spacing seen between the many members present in the court and how effective this display is.

Black Levels: Black levels are strong throughout with no sign of crushing. It’s an interesting contrast when Shaun Parkes’ Frank is placed in solitary, for example, and watching how light comes into play with darker elements in the same scene.

Color Reproduction: A common thread in these films is how color makes its presence known. Plenty is going on to show the costumes on display, the various locations, and more, reflecting the West Indian community.

Flesh Tones: The many uses of close-ups allow the flesh tones to register very well, featuring all the detail in a clear manner.

Noise/Artifacts: There’s nothing of note to consider.

 

Lovers Rock

Building off of reggae, lovers rock is a style of that Rastafarian sound putting greater emphasis on R&B and soul. Love themes came out of this music, which was largely popular in London in the 1970s. “Lovers Rock” is also the second installment of Small Axe, which is set during a Blues party in 1980, focusing on the black youths who were unwelcome in white nightclubs. It’s another terrific entry in this anthology series, serving as an interesting change-up in tone, compared to “Mangrove,” yet continuing to prove the series’ worth when it comes to a display of pride in one’s culture…

… Not being caught up in dramatized presentations of true moments in British history, “Lovers Rock” has the feel of a wondrous slice of life that could practically be seen as a form of mythology. Yes, these Caribbean people made the best out of an environment that tried to push them away, but thanks to some ingenuity and a moving sense of spirit, carving out an underground space to reach peak moments of happiness led to rooms full of people who could share these stories of silly games and black pride.

Read the entire review HERE.

 

Video:

Encoding: MPEG -4 AVC

Resolution: 1080p

Aspect Ratio: 1.78:1

Details: This new digital master was created in 2K resolution from the 4K digital camera files.

Clarity/Detail: Filmed on the ARRI Alexa to best capture long takes and work with the unobtrusive lighting, “Lovers Rock” is an immaculate film in terms of how visibly every aspect is. Set in the mid-70s, the digital photography is able to do a remarkable job of letting the viewer clearly see all of the different outfits on display at this large house party. The production design is also key to this entry, and all of the details are excellently displayed.

Depth: A crowded house party means having to deal with a lot of people at a time, whether in big rooms or cramped hallways. The sense of depth plays well on this disc.

Black Levels: Set primarily at night and mainly indoors, there’s ample darkness to deal with, and the black levels are consistent throughout.

Color Reproduction: “Lovers Rock” is a very warm film, with lots of golds, light browns, and bright colors to reflect the mood quite well. These colors all pop the way they need to in order to reflect the mostly positive space these characters are in.

Flesh Tones: Lots of faces in close proximity, and they come through great.

Noise/Artifacts: The film is spotless

 

Red, White and Blue

A shot is seen a couple of times in “Red, White and Blue,” featuring a character staring at a wall for a while. He’s slightly off-center, and there’s no need for dialogue. As we watch this take place, the reasoning is clear. There’s disbelief and acknowledgment taking place at the same time. It has everything to do with the way the system has been designed to hold people back. However, it’s not that there is a lack of trying and even the smallest semblance of hope that things can actually change…

…Unlike the other entries so far, “Red, White and Blue” is an angrier film that doesn’t allow for a clear conclusion. It throws a character with bright eyes into a pit that he wants to make better. Is he entirely disillusioned, though? A final scene between Leroy Logan (a terrific John Boyega) and his father suggests there’s room to fix things, but at what cost? It’s a good question that still may not have an answer. Still, the wheels of change are able to turn.

Read the entire review HERE.

 

Video:

Encoding: MPEG -4 AVC

Resolution: 1080p

Aspect Ratio: 1.85:1

Details: This new digital master was created in 2K resolution from the 35mm original negative.

Clarity/Detail: This film is set in the mid-80s and once again relies on film to put this story on display. Presented in standard widescreen, seeing Leroy Logan’s story come to life allows McQueen and company to show what seems like an average life in the city. This means the visuals feel less complex compared to the previous two films, and yet the details revolving around the police stations and other unique locations have what’s needed to allow this entry to stand out.

Depth: There’s a solid sense of dimensionality on display here, especially as the film attempts to show the division between Logan and others.

Black Levels: Black levels are strong and consistent here. No signs of crushing.

Color Reproduction: This is a cooler film than the others, reflecting the mood of the entry. Colors emerge as needed, though the emphasis on the dark blues worn by the police are as clear as needed.

Flesh Tones: Boyega’s Logan and Steve Toussaint, as his father, get a lot of screen time, and we get a full spectrum of their characters, with consistent levels regarding textures here.

Noise/Artifacts: This is a clean presentation.

 

Alex Wheatle

For the fourth entry in the series, it is interesting to look at the move to another direction compared to the previous entry. While “Red, White and Blue” emphasized the anger found in the injustices taking place in the police force, “Alex Wheatle” chooses to show what happens when a character is offered compassion and guidance. There are still rocky areas to contend with, but they are matched with a level of warmth that inspires hope…

…While examining the ways social justice has been incorporated in this part of the U.K. during a certain period of time can lead to some heavy content, for the most part, Small Axe has shown some achievements to counter the terrible factors that boiled over in different ways. Thanks to the strength in cinematic observation put on display, the informed look at unfortunate scenarios is effective, but the positive revelations coming, as a result, continue to be worthwhile.

Read the entire review HERE.

 

Video:

Encoding: MPEG -4 AVC

Resolution: 1080p

Aspect Ratio: 2.00:1

Details: This new digital master was created in 2K resolution from the 4K digital camera files.

Clarity/Detail: This is the most expansive entry in terms of the amount of time covered, and I enjoyed the choice of allowing a wider scope in terms of aspect ratio to reflect this more. Given the different stages of Alex’s life, there’s plenty to like about seeing the details concerning the different periods we observe. Once again shot digitally, there’s plenty of clarity in all that comes through here.

Depth: More scenes feature crowds as well as cramped locations; it’s handled well in terms of seeing this visual presentation show off the space.

Black Levels: A particular recurring sequence involves a period of time Alex spent in jail. I was curious to see how the black levels would play here, and they did not disappoint. Consistent presentation.

Color Reproduction: A variety of colors are on display throughout, complete with the whites and other brights found in sequences when Alex lived a more posh life, along with darker-colored moments that show his evolution as a character. All of what’s on display comes through wonderfully, with plenty to reflect upon as a viewer observes his journey.

Flesh Tones: Great amount of detail to be found throughout.

Noise/Artifacts: The film is spotless

 

Education

Imagine being a child who visits a planetarium and is filled with wonder. You want to grow up and be an astronaut because of how amazing the universe seems – something full of endless possibilities. And now imagine that opportunity is taken away from you because you’ve been deemed “educationally subnormal.” It’s not because you have trouble reading or because you act out in class. No, it’s because you’re a black kid who has been targeted by an unofficial policy to be placed in a separate school for “special” children, which is a disguised way of segregating kids from one another. You couldn’t find a clearer example of how systemic racism begins. Despite the outrage these real-life practices caused in 1970s London, “Education,” the final film in McQueen’s Small Axe series, is more hopeful than it seems…

…Following some justice being delivered, and a slice-of-life display of a party, the middle entry of this series, “Red, White and Blue,” made little effort to show the potential of a change in the status quo. “Education” moves to put a focus on the ways people can stand up and take a cause to the highest authority because of believing in what’s right. Yes, problems are still prevalent in one form or another now, but at least people still fight for a little boy or girl to have the opportunity to become an astronaut if they want to, as no child should be told they are subnormal.

Read the entire review HERE.

 

Video:

Encoding: MPEG -4 AVC

Resolution: 1080p

Aspect Ratio: 1.60:1

Details: This new digital master was created in 2K resolution from the Super 16mm original camera negative.

Clarity/Detail: Set in the early 70s and shot on Super 16mm, close to the Academy ratio, the choice has been made to portray “Education” as the grittiest-looking of the films. It’s an interesting choice, though being perhaps the most personal entry means there’s good reason to have this film reflect a more intimate filming choice. The results are still quite strong, with the grain levels coming through as they would, while the level of detail is still no doubt present. Largely relying on school and home settings, short of a 4K release, I’m not sure what else could be done to best reflect the clarity of these buildings and the designs, costumes, and more within.

Depth: Scenes set in exhibits during field trips accurately reflect the depth levels on display.

Black Levels: Black levels are quite strong throughout, even in its presentation that evokes a 70s BBC TV drama, there’s professionalism applied to best utilize this film format.

Color Reproduction: Colors come through as well as they can, emphasizing the various costume choices stemming from the times.

Flesh Tones: Facial texture comes through appropriately throughout.

Noise/Artifacts: The film has nothing to be concerned with.

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(Note: As there was no major difference to be found in the audio presentation, the score and additional commentary reflect each of the films about the same)

Audio:

Audio Format(s):

Subtitles: English SDH

Details: The original 5.1 surround soundtracks were remastered from the digital audio master files.

Dynamics: Each of the films feature terrific lossless tracks that do well to combine all of the elements together – dialogue, sound effects, music, and ambient noise. It all plays well to how the various entries deliver in the ways needed to maintain its cinematic level, despite working as different attempts to portray the reality of multiple situations.

Low-Frequency Extension: Look to “Lovers Rock” to get a great sense of how a sub-woofer can get a workout, given the use of  music throughout. The protests in “Mangrove” similarly have much to offer in helping balance the sounds. The other entries have elements that satisfy as well.

Surround Sound Presentation: There’s a great sense of spacing here when determining the various audio sources. The way the surround aspect incorporates the different channels is effective when considering the big musically-focused scenes, let alone how factors such as crowds can play a role in how the sound is spread out.

Dialogue Reproduction: Everyone is heard loud and clear.

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Extras:

Short of my own personal desire for these films, which is, of course, a commentary for each entry, this set is a well-handled understanding of how to best utilize an allotted amount of space. Spread across three discs, the first features the meatiest extras, as there are longer-form interviews going over the anthology. The third disc, however, features a 3-hour documentary covering a specific event in U.K. history that clearly lines up with the themes and societal commentary taking place in the film series. Would I have also liked more outtakes from “Lovers Rock” and the “Silly Games” sequence? Or maybe a contribution from the real Leroy Logan or Alex Wheatle? Sure, but you can’t have it all. As it stands, there’s plenty to work with here.

Features Include:
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Disc One:

Mangrove

• Steve McQueen and Paul Gilroy (HD, 28:57) – Director McQueen and writer/professor Gilroy discuss the various films, their inspirations, and what it means to have been able to tell these stories.
• Interviews (HD, 3:40) – The cast and crew discuss the themes and making-of this particular entry.
• Trailer (HD, 2:06)

Lovers Rock

• The “Music” of Small Axe (HD, 25:20) – McQueen and music producer Dennis Bovell are interviewed by Beastie Boys member Mike D to discuss how music plays a crucial role in each of the films.
• Interviews (HD, 4:06) – The cast and crew discuss the themes and making-of this particular entry.
• Trailer (HD, 1:38)

 

Disc Two:

Red, White and Blue

• Interviews (HD, 4:41) – The cast and crew discuss the themes and making-of this particular entry.
• Trailer (HD, 1:11)

Alex Wheatle

• Interviews (HD, 4:32) – The cast and crew discuss the themes and making-of this particular entry.
• Trailer (HD, 1:10)

Education

• Interviews (HD, 5:29) – The cast and crew discuss the themes and making-of this particular entry.
• Trailer (HD, 0:50)

 

Disc Three:

• Uprising (HD) – A three-part documentary co-directed by Steve McQueen and James Rogan about the tragic 1981 New Cross house fire, which would define race relations in the U.K. for a generation.
  • Part One – Fire (HD, 1:01:58)
  • Part Two – Blame (HD, 1:01:58)
  • Part Three – The Front Line (HD, 1:02:01)
    

PLUS – An essay by film programmer and critic Ashley Clark

 

Summary:

Small Axe is one of the strongest achievements I’ve seen from a filmmaker who has strived to tell achingly human stories, whether set in the past or present. McQueen is confronting lots of conflict head-on but doing it with the assured sense of a director entirely in control. Impressive and important, I was more than happy to have time to process each story and found it very easy to see this ambitious accomplishment as my favorite film of 2020. This Blu-ray set is terrific, doing enough for each film’s video and audio presentation to shine. Additionally, the collection of extras provide plenty of context surrounding the films and the era being put under the spotlight in general. It’s not hard for me to say this is among the best recent additions to the Criterion Collection, but I do hope plenty more finally take a look at this tremendous anthology.

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