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CRITERION: The Freshman (Blu-Ray / DVD Combo) This March

Criterion has scheduled a March 25th street date for their Blu-Ray / DVD Combo of Harold Lloyd's The Freshman (1925).

This hilarious Lloyd comedy will come in a 3-disc set with 1 Blu and 2 DVDs with all bonus features (below) contained on both formats.


Harold Lloyd's biggest box-office hit was this silent comedy gem, featuring the befuddled everyman at his eager best as a new college student. Though he dreams of being a big man on campus, the freshman's careful plans inevitably go hilariously awry, be it on the football field or at the Fall Frolic. But he gets a climactic chance to prove his mettle-and impress the sweet girl he loves-in one of the most famous sports sequences ever filmed.

This crowd-pleaser is a gleeful showcase for Lloyd's slapstick brilliance and incandescent charm, and it's accompanied here by a new orchestral score by Carl Davis. Set contains one Blu-ray and two DVDs, with all content available in both formats

BONUS FEATURES:

  • New 4K digital transfer from a restoration by the UCLA Film and Television Archive
  • New orchestral score, composed and conducted by Carl Davis, presented in uncompressed stereo on the Blu-ray
  • Audio commentary featuring director and Harold Lloyd archivist Richard Correll, film historian Richard Bann, and film critic and historian Leonard Maltin
  • Lloyd's prologue to the film, created for the 1966 rerelease
  • Three newly restored Lloyd shorts: The Marathon (1919), with a new score by Gabriel Thibaudeau, and An Eastern Westerner and High and Dizzy (both 1920), with new scores composed and conducted by Davis
  • Big Man on Campus, a new visual essay on the film's locations by silent-film historian John Bengtson
  • Conversation between Correll and film historian Kevin Brownlow
  • Footage from a 1963 Delta Kappa Alpha tribute to Lloyd, featuring comedian Steve Allen, director Delmer Daves, and actor Jack Lemmon
  • Lloyd's 1953 appearance on the television show What's My Line?
  • PLUS: A booklet featuring an essay by critic Stephen Winer