Two weeks ago, I reviewed the DVD release of the Star Wars trilogy. When Star Wars debuted in 1977, it left a deep and permanent impression on science fiction cinema. Although Dark City's release did not generate as much of a splash, it has gained a significant following of film critics and historians who laud its visionary approach to the new CGI (Computer Generated Imaging) technologies at its disposal.Several years ago, Dark City was released in a "Platinum Edition" DVD. I discovered it while searching for DVD's with running commentary by Roger Ebert after having seen his award-winning commentary on the Citizen Kane DVD. It struck me that after the commentary on a classic like Kane, Ebert would choose to devote an entire commentary track to a relatively obscure science fiction film. Having seen the film several times, I chose to return to it with Ebert's commentary.

Dark City begins with a 1940s-style urban landscape that stops, mysteriously, at midnight. What looks at first like metropolitan bustle shifts at the turn of a clock to a nightmarish silence. Everyone sleeps, except for Dr. Schreber (Kiefer Sutherland, 24) who limps through the silent streets on ominous business. But it is not Dr. Schreber's story that we follow. It is the story of John Murdoch (Rufus Sewell, A Knight's Tale), an everyman who wakes up suddenly in a bathtub without any clear memories of who he is or where he is.

In the audio commentary, Ebert appropriately applauds the highly effective blending of established genres, clichs and common motifs for the purpose of creating an entirely new story. The look is that of film noir, or of German Expressionism, the movement that pre-dated noir, the movement of films such as Fritz Langs' M and Metropolis.

It is a dark, perpetual night, where fedora-clad detectives, smooth-talking villains and even a night club singer in a clingy dress wander in a streetlamp-lit maze. There is much more than simply film noir in Dark City. Ultimately, there are strong elements of science fiction inherent in it as well. It is a city that is controlled by aliens called The Strangers who have the power to mold the city to their design by the force of their will alone. Ultimately, although Dark City relies on these conventional forms and elements, it manages very successfully to rework them in to fresh story elements, rather than letting it fall to the level of mere clichs and cinematic parroting.

In ways that he could not do in a written review, Ebert spends a lot of time discussing the significance of details-not how they are significant to the plot, but how they signify a film that is wellcaredfor, that is wellattenedto. In fact, Ebert admits that many of the details that he points out as interesting do not contribute much to the story itself, but indicate an attention to detail on the part of the director, Alex Proyas (The Crow), and an attention to the significance of creating an effective atmospheric setting in which the story takes place.

The most interesting element of Ebert's commentary comes late in the film, when new twists are revealed, and when the final showdown between Murdoch and The Strangers unfolds. For those who follow his reviews, his ideas on the ideal uses of modern special effects (especially computer effects) are familiar-the story in a film should not be simply an excuse for special effects artists to have fun. Whereas in many science fiction and action films, the concluding showdowns tend to be "sound and fury signifying nothing," Ebert says, the effects in Dark City "are all driven by the characters and by the plot." The commentary becomes, in effect, a soap-box for Ebert to say how special effects ought to be used, with the effects of Dark City as his primary example.

Although Ebert's commentary is interesting, it is not the only special feature on the DVD. There is a second commentary track with the director, the writers, the director of photography and the production designer. It is interesting too, but with so many people speaking it is sometimes difficult to figure out who is saying what.

There are also some setdesign illustrations which may be of interest to students of that field, but which come without any explanation as to what they are, or how they fit in to the process of designing a film. There are several other forgettable features, as well, which seem enormously outofplace and insignificant compared film itself, which carries with it an enigmatic enchantment all its own.

Watching a movie with Roger Ebert "in the living room" is particularly rewarding. In addition to his commentary on Dark City and Citizen Kane, Ebert has recorded commentaries for Casablanca and a Yasujiro Ozu film called Floating Weeds.