Not a Pretty Picture
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Synopsis
Trailblazing filmmaker Martha Coolidge made her feature debut with this unflinchingly personal hybrid of documentary and fiction. Centered on an intense reenactment of Coolidge’s experience of rape in her adolescence, the film casts Michele Manenti (also a survivor) as the director’s younger self, and observes the actor and her castmates as they engage in a profound dialogue about what it means to recreate these traumatic memories, and about their attitudes concerning consent and self-blame. A high-stakes experiment in metacinema that broke new ground with its uncompromising examination of date rape, Not a Pretty Picture brings a stunning immediacy to questions about the on-screen representation of sexual violence and the limits of artistic catharsis.
Picture 9/10
The Criterion Collection presents Martha Coolidge’s Not a Pretty Picture on Blu-ray in its original 1.33:1 aspect ratio, housed on a dual-layer disc. This 1080p/24hz high-definition encode is sourced from a new 4K restoration, created from scans of the 16mm negative (A/B rolls) and a 16mm internegative.
Considering it’s a purely independent experimental documentary-narrative hybrid shot on 16mm almost 50 years ago, it's hard to imagine it looking anywhere near pristine. Yet, remarkably, it does. Despite the 16mm source and the film’s unconventional structure and shooting style, the end result is unbelievably good. The restoration work has cleaned up the image impeccably, leaving very little damage visible. Detail levels vary due to the original photography, but they are often staggering.
The film’s dual structure leads to two distinct visual styles: one for the documentary/behind-the-scenes segments and another for the narrative-driven reenactments. The digital presentation renders both effectively. The documentary portions appear cleaner and brighter, with a freewheeling feel. In contrast, the reenactments have a staged, grittier look, with coarser grain that enhances it.
This variation might be due to some of the material coming from the internegative, but regardless, it all looks excellent thanks to a surprisingly sharp encode, especially after some troublesome ones from Criterion. Screen grabs may reveal minor areas for improvement, but these shortcomings are not evident during playback, resulting in a clean, film-like image through its runtime.
Colors are somewhat bland but satisfactory, while blacks can occasionally appear mushy. Despite this, the dynamic range is wide, which is beneficial during darker sequences, such as an extended nighttime scene inside a dimly lit car, which is absolutely clear while also being visually impressive. Ultimately, this presentation is a wonderful surprise, offering a visually stunning presentation of Coolidge’s unique film.
Audio 7/10
Presented in lossless PCM, the film’s monaural soundtrack is also surprisingly impressive. It is clean and free of heavy damage and distortion. The range, particularly during the reenactment portions, is quite wide with decent fidelity.
Extras 6/10
As is typical with recent releases, the supplemental material is somewhat underwhelming but still valuable. The standout feature is a 25-minute discussion between filmmakers Martha Coolidge and Allison Anders. The conversation starts conventionally, with Coolidge reflecting on her early experiences with film, including charming anecdotes about making 8mm films with her father. It then shifts focus to Not a Pretty Picture, sparked by Coolidge’s reaction to Mitchell Block’s ...No Lies, a film that inspired her to explore the subject of sexual assault through her own lens, given her personal experience with rape at age 16.
The discussion delves into the historical context of how such topics were approached at the time (not much it not at all) and how the film influenced Anders in her own work, notably in 2001’s Things Behind the Sun. They explore the evolution of conversations around rape and the challenges of depicting such scenes on screen, both agreeing that showing the violence of rape onscreen ultimately proves counterproductive. The conversation is both enthusiastic and insightful while also offering several surprises, including a revelation about a song that appears in the film (and coincidentally in another film that appears in the collection).
Additionally, Molly Haskell contributes an essay on the film and its impact, providing some insightful commentary. Beyond this and the interview, nothing else is new, but Criterion includes Coolidge’s early film, Old-Fashioned Woman. This 48-minute documentary, originally intended to explore her family history, focuses on Coolidge’s paternal grandmother, Mabel. The film combines personal musings, family stories, and reflections on loss, including the death of Coolidge’s father. Mabel’s photography is also interwoven with the narrative, adding depth and context to her family’s background.
This inclusion of the film is a notable addition that partially compensates for the lack of other supplementary material; it's incredibly well made and the film's subject is absolutely captivating. It also doesn't hurt that the film is presented from a new restoration and a solid encode that further enhances its value.
Closing
Though I would have appreciated more supplementary content, Criterion still includes a couple of excellent features and delivers a stunning presentation of the film.
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