I had to spend sometime chewing over THE HOUSE OF SPIRITS. It has now been watched thrice, with an without an audience and with a sense of foreboding each time. I remembered how the world had reacted to both the expectation of its release and then post release disappointment. It had been a film that was equally anticipated, then reviled. Stories of miscasting and unbalanced characters. Seen first as the realisation of a popular novel, then as the destruction of a beloved gem. But this film was always a different fish. Producer and director Billie August wanted to make a film that was not just an award baiting picture but capture the place and the time. He wanted a work of art of sorts. He had already won the Palme D’or twice, an Oscar and seemed set to do something when Chilean writer Isabel Allende agreed for him to make her novel into a film (after turning down all and sundry.

Set in South America before the Second World War, we begin with the establishing of the Trueba family. There is the  passionate relationship between the supernaturally gifted Clara (Meryl Streep) and her controlling husband Esteban (Jeremy Irons). One wants love and the other power. Both are not going to get near to eithers desires. The country they are in is one reason. The powers that bind them another. Into the mix comes the sister of Esteban, Férula (Glenn Close). She has a desire to help but a strange sense of love for her brothers wife.

I commend Imprint for offering both cuts of the film to us. In the UK you could find the longer and better version, but the Weinstein (for that is what it is) version is a study in studio fuck aboutery. Film historian Scott Harrison commentary on the latter, outlines in detail not only the differences but also his own opinion of what does resonant and what didn’t with an audience. He does meander a lot at times but its compelling and a historical guide on the region and the works of August. Both cuts are also in 108p and seem to have fared well in the age of upscale. Mostly because the dream like stock cinematography, seemed to have benefited from time. In truth that is about all that is worth time on the disc. The interview is haphazard and lacks any detail that would make a viewer feel invested. But the films are both worth sitting through. Seeing for yourself if the versions, visions and imaginings hold. I would also add that for a fan of the book (which I am not), it is a valuable way to see what perfect harmony was created and how fragile it was in the end.

Special Features and Technical Specs:

• 1080p High-definition presentation on Blu-ray
• 2 cuts of the film – US Theatrical, and Extended 132-minute European version with an alternative presentation of the film’s opening
• NEW Audio Commentary by film historian Scott Harrison
• NEW Beginning with Bille – interview with first assistant director Guy Travers
• Original Aspect Ratio 2:35:1
• Audio English LPCM 2.0 Stereo
• Optional English HOH subtitles (US Theatrical cut only)
• Limited Edition slipcase on the first 1500 copies with unique artwork