Troy Donahue
6 Films
Troy Donahue
6 Included Films

Troy Donahue (born Merle Johnson Jr., January 27, 1936 – September 2, 2001) was an American film and television actor and singer. He was a popular sex symbol in the 1950s and 1960s. His father was Merle Johnson, the manager of the motion-picture department of General Motors. His mother, Edith Johnson, was a retired stage actress. Donahue attended a New York military academy, where he met Francis Ford Coppola. When Donahue was 18, he moved to New York and got a job as a messenger in a film company founded by his father. He was fired, he says, because he was too young to join the union. He attended Columbia University and studied journalism. He trained briefly with Ezra Stone, and then moved to Hollywood. The big break of Donahue's career came when he was cast opposite Sandra Dee in A Summer Place, made by Warner Bros. in 1959. The director was Delmer Daves. Warner signed him to a long-term contract. They put him to work guest-starring in episodes of their Western TV series, such as Colt .45 (1959), Maverick (1959), Sugarfoot (1959), The Alaskans (1960), and Lawman (1960). In 1968, Donahue signed a long-term contract with Universal Studios for films and TV. This lasted a year and saw him get four roles: guest shots on Ironside (1968), The Name of the Game (1968), and The Virginian (1969), and an appearance in the TV movie The Lonely Profession (1969). Donahue declared bankruptcy in 1968 and eventually lost his home. In 1969, Donahue moved from Los Angeles to New York City. By this time, Donahue's drug addiction and alcoholism had ruined him financially. In May 1982, he joined Alcoholics Anonymous, which he credited for helping him achieve and maintain sobriety. Donahue continued to act in films throughout the 1980s and into the late 1990s. Donahue's final film role was in the 2000 comedy film The Boys Behind the Desk, directed by Sally Kirkland. On August 30, 2001, Donahue suffered a heart attack and was admitted to Saint John's Health Center in Santa Monica. He died three days later, on September 2, at the age of 65.
Director: Douglas Sirk
MoC > Kino Lorber http://www.dvdbeaver.com/film2/dvdreviews42/tarnished_angels.htm
Director: Douglas Sirk
MoC > Kino Lorber http://www.dvdbeaver.com/film2/dvdreviews42/tarnished_angels.htm
Director: Delmer Daves
Director: Delmer Daves
Director: Delmer Daves
Director: Delmer Daves
The Paramount 4K "restoration" is a desecration. It has completely revisionist color timing, harsh HDR, treatment of stock footage, bad encoding, selective DNR and grain management so bad that the entire screen frequently freezes up with only characters moving around in grain soup. It is so bad that the film's restorer Robert Harris publicly washed his hands of it saying essentially the 2007 restoration (with Willis and Coppola supervising) is how the film was intended and made. This is Paramount's modern version done their way. The new 1080p SDR Blu-rays in print are the crap 4K desecration master with the same problems still there just harder to spot and with crap encodes. Part II overall fares better than the first film but it has all the same problems. Randomly some shots are the worst in the trilogy looks mushy and manipulated to death.
The mono option is an unnecessarily processed version of the lossy mono from the 2008 Blu-ray. The 2008 Blu-ray of the 2007 Coppola Restoration while an imperfect outdated disc is LIGHT YEARS better than this 4K desecration. The only truly major issue is that it is very slightly redder than the 2007 finished master as seen on DCPs. The lossy mono on the 2008 Blu-ray is the best version of the original mix known to exist as it is better than the late 80's mastering for VHS and LaserDisc.
DFIC review of the hideous crap 4K Blu-rays: https://youtu.be/0uw6-Kcy_UA?si=ob1nDg0wTCvemjH0
The Paramount 4K "restoration" is a desecration. It has completely revisionist color timing, harsh HDR, treatment of stock footage, bad encoding, selective DNR and grain management so bad that the entire screen frequently freezes up with only characters moving around in grain soup. It is so bad that the film's restorer Robert Harris publicly washed his hands of it saying essentially the 2007 restoration (with Willis and Coppola supervising) is how the film was intended and made. This is Paramount's modern version done their way. The new 1080p SDR Blu-rays in print are the crap 4K desecration master with the same problems still there just harder to spot and with crap encodes. Part II overall fares better than the first film but it has all the same problems. Randomly some shots are the worst in the trilogy looks mushy and manipulated to death.
The mono option is an unnecessarily processed version of the lossy mono from the 2008 Blu-ray. The 2008 Blu-ray of the 2007 Coppola Restoration while an imperfect outdated disc is LIGHT YEARS better than this 4K desecration. The only truly major issue is that it is very slightly redder than the 2007 finished master as seen on DCPs. The lossy mono on the 2008 Blu-ray is the best version of the original mix known to exist as it is better than the late 80's mastering for VHS and LaserDisc.
DFIC review of the hideous crap 4K Blu-rays: https://youtu.be/0uw6-Kcy_UA?si=ob1nDg0wTCvemjH0
Director: John Waters
Kino Lorber 4K Blu-ray has poor encoding see caps but still a huge improvement over the 2014 Universal Blu-ray
Kino Lorber 4K Blu-ray Both the 2.0 and 5.1 tracks are improvements over the 2014 Universal Blu-ray
Theatrical cut is on the 4K disc, but the restored Director's Cut is only on the Blu-Ray disc. Director's Cut utilizes the same 4K transfer as the theatrical cut for 86 minutes, but the 6 minutes of restored footage could only be salvaged from a standard definition source and are thus needed to be upscaled.
Director: John Waters
Kino Lorber 4K Blu-ray has poor encoding see caps but still a huge improvement over the 2014 Universal Blu-ray
Kino Lorber 4K Blu-ray Both the 2.0 and 5.1 tracks are improvements over the 2014 Universal Blu-ray
Theatrical cut is on the 4K disc, but the restored Director's Cut is only on the Blu-Ray disc. Director's Cut utilizes the same 4K transfer as the theatrical cut for 86 minutes, but the 6 minutes of restored footage could only be salvaged from a standard definition source and are thus needed to be upscaled.
6 films





