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Licensor Information
Universal Studios Home Entertainment
Directed by: Monte Hellman
Drag racing east from Los Angeles in a souped-up ’55 Chevy are the wayward Driver and Mechanic (singer-songwriter James Taylor and the Beach Boys’ Dennis Wilson, in their only acting roles), accompanied by a tagalong Girl (Laurie Bird). Along the way, they meet Warren Oates’s Pontiac GTO–driving wanderer and challenge him to a cross-country race. The prize: their cars’ pink slips. But no summary can do justice to the existential punch of Two-Lane Blacktop. With its gorgeous widescreen compositions and sophisticated look at American male obsession, this stripped-down narrative from maverick director Monte Hellman is one of the artistic high points of 1970s cinema, and possibly the greatest road movie ever made.
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Release Information:
Technical Specifications
Format:
DVD
Discs:
DVD-9 (2 Discs)
Total: 2 Discs
Regions:
1 (DVD)
Aspect Ratio:
2.35:1
Audio Options:
English Dolby Digital Mono 1.0
English Dolby Digital Surround 5.1
Resolution:
480p/29.97
Subtitles:
English
Supplements
Types of Supplements Included: Audio Commentary, Interview, Screen Tests, Featurette, Gallery, Theatrical Trailer, Insert
- Audio commentary by Monte Hellman and filmmaker Allison Anders
- Audio commentary by screenwriter Rudy Wurlitzer and author David N. Meyer
- Interviews with Monte Hellman, actor James Taylor, musician Kris Kristofferson, producer Michael Laughlin, and production manager Walter Coblenz
- Rare screen test outtakes
- Performance and Image, a look at the restoration of a ’55 Chevy used in the movie and the film’s locations in 2007
- Color Me Gone, photos and publicity from the film
- Trailer
- Insert featuring an essay by critic Kent Jones
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Film
Picture
Audio
Supplements
Artwork
Release Credits
Producer: Susan Arosteguy
Artwork: Marc English
Release Notes on Restoration
Two-Lane Blacktop
Two-Lane Blacktop is presented in its original aspect ratio of 2.35:1. Black bars at the top and bottom of the screen are normal for this format. Supervised by director Monte Hellman, this high-definition digital transfer was created on a Spirit 2K from a 35mm four-perforation interpositive made from the original Techniscope two-perforation camera negative. Thousands of instances of dirt, debris, scratches, splices, warps, jitter, and flicker were manually removed using the MTI’s DRS and Pixel Farm’s PFClean, while Image Systems’ Phoenix was used for small dirt, grain, noise management, flicker, and jitter.
The original monaural soundtrack was remastered at 24-bit from the 35mm magnetic tracks. Clicks, thumps, hiss, and hum were manually removed using Pro Tools HD. Crackle was attenuated AudioCube’s integrated workstation.
The original monaural soundtrack was remastered at 24-bit from the 35mm magnetic tracks. Clicks, thumps, hiss, and hum were manually removed using Pro Tools HD. Crackle was attenuated AudioCube’s integrated workstation.