Graham Cole
2 Films
Graham Cole
2 Included Films
Graham Cole OBE (born Graham Coleman-Smith on 16 March 1952) is an English actor. Cole was born in Willesden, Middlesex in 1952 to Victor and Freda Coleman-Smith (née Coleman), the youngest of three children. He appeared in numerous episodes of Doctor Who in the early 1980s, often in uncredited roles, such as Marshman and then a Cyberman in Earthshock. He has also played Melkur in The Keeper of Traken and finally a Jacondan in The Twin Dilemma. He also made a guest appearance in the final series of Sooty and Co as a detective called Maurice and in Only Fools and Horses as a Spanish customs official. His first film appearance was in the James Bond film The Living Daylights in 1987. Cole then appeared in Indiana Jones and the Last Crusade as one of Walter Donovan's henchmen, who escort Indiana Jones to their boss's New York apartment. He is best known as PC Tony Stamp in the ITV police drama The Bill, a role he played initially as a recurring character from 1984, and then as a regular from 1988 until 2009. Cole appeared in more episodes of the programme than any other actor, appearing in 1,202 episodes. He had previously spent 12 years in Repertory Theatre, and musicals. He presented and narrated the police video programme Police Stop!. He appeared regularly on Noel's House Party in sketches with Andrew Paul. Cole has also made a guest appearance in ITV series Law & Order: UK as a barman in one episode. Cole in costume after appearing in a pantomime in Lichfield in 2015 In his early career in the late 1970s Cole appeared as the Emperor of China in a season of Aladdin at the Grand Theatre in Swansea. Other pantomime appearances have included the role of "Beast" in Beauty & The Beast at the Woodville Halls in Gravesend, Kent. He played Scrooge at Garrick Theatre, Lichfield in 2012 and Abanazer for Theater Royal, Norwich, 2013–2014. He played General Waverley in Irving Berlin's White Christmas at The Festival Theatre, Edinburgh. He later returned to the role at The Dominion Theatre, London. Cole starred in the gangster-horror film Evil Never Dies in 2014, as DI David Bracken, a film that also starred Katy Manning, P.H. Moriarty and former The Bill colleague Tony Scannell. Cole made appearances in Doctors (2015) and Holby City (2018), before starring in the romantic-drama film 23 Walks in 2020 with Alison Steadman.
Paramount 4K Blu-ray heavily revisionist. Purist option: 35mm scan, Blu-ray, DVD or LaserDisc
The Paramount 4K master is HEAVILY revisionist in that all of the effects and opticals were redone and tweaked with errors and issues. There has been grain management (moments of stagnating grain and haloing) and the encoding isn't great hence the typical Paramount noise in the image. (especially skies) The HDR is a bit bright in the highlights. The Blu-ray is showing its age but does not have any of these digital alterations. It is from the scan done by Laser Pacific and is the highest quality unaltered master we have. The DVD was done by Lowry Digital and had much scrubbing and processing of grain in addition to edge enhancement. The letterbox LaserDisc was the first widescreen release and is very good for its time. There was also a rare SVHS release using the letterbox LaserDisc master.
The 4K Blu-ray audio is seemingly an Atmos remix of the 5.1 found on the Blu-ray which itself is very similar to the DVD 5.1. All are presumably based on the 70mm Dolby six track mix. The Atmos is more processed and moves the sound around more so it is inferior to the older 5.1 iterations. On release, Last Crusade had Dolby 70mm with stereo surrounds, Dolby Stereo SR for 35mm and was mixed in a THX sound theater to ensure the ultimate in technical quality in 1989. The DVD was supposedly made from the 70mm mix and the Blu-ray 5.1 seems to bring that into lossless. This is unconfirmed but each seems to be a healthy and accurate version of the original audio. However, the LaserDisc despite only having matrix PCM stereo is punchier and livelier as a listening experience. Despite not being discrete it arguably sounds better than the 5.1 versions. Some who remember seeing each of the original release versions claim to remember the 35mm Dolby DR as sounding better than the 70mm Dolby. This is a case where both sound great and it's up to fans to decide which they prefer. Both are essential for any Indy collection and the LaserDisc is very cheap. The VHS hifi seems to be the same 2.0 matrix with format differences so it can also be compared against the DVD and Blu-ray 5.1 versions.
DFIC extensive review: https://youtu.be/evsrJOTIjdA?si=wtdWGxZBfhPYTIeW
Paramount 4K Blu-ray heavily revisionist. Purist option: 35mm scan, Blu-ray, DVD or LaserDisc
The Paramount 4K master is HEAVILY revisionist in that all of the effects and opticals were redone and tweaked with errors and issues. There has been grain management (moments of stagnating grain and haloing) and the encoding isn't great hence the typical Paramount noise in the image. (especially skies) The HDR is a bit bright in the highlights. The Blu-ray is showing its age but does not have any of these digital alterations. It is from the scan done by Laser Pacific and is the highest quality unaltered master we have. The DVD was done by Lowry Digital and had much scrubbing and processing of grain in addition to edge enhancement. The letterbox LaserDisc was the first widescreen release and is very good for its time. There was also a rare SVHS release using the letterbox LaserDisc master.
The 4K Blu-ray audio is seemingly an Atmos remix of the 5.1 found on the Blu-ray which itself is very similar to the DVD 5.1. All are presumably based on the 70mm Dolby six track mix. The Atmos is more processed and moves the sound around more so it is inferior to the older 5.1 iterations. On release, Last Crusade had Dolby 70mm with stereo surrounds, Dolby Stereo SR for 35mm and was mixed in a THX sound theater to ensure the ultimate in technical quality in 1989. The DVD was supposedly made from the 70mm mix and the Blu-ray 5.1 seems to bring that into lossless. This is unconfirmed but each seems to be a healthy and accurate version of the original audio. However, the LaserDisc despite only having matrix PCM stereo is punchier and livelier as a listening experience. Despite not being discrete it arguably sounds better than the 5.1 versions. Some who remember seeing each of the original release versions claim to remember the 35mm Dolby DR as sounding better than the 70mm Dolby. This is a case where both sound great and it's up to fans to decide which they prefer. Both are essential for any Indy collection and the LaserDisc is very cheap. The VHS hifi seems to be the same 2.0 matrix with format differences so it can also be compared against the DVD and Blu-ray 5.1 versions.
DFIC extensive review: https://youtu.be/evsrJOTIjdA?si=wtdWGxZBfhPYTIeW
2 films