--- product_id: 9195257 title: "Mad Men: Season 1 [Blu-ray]" price: "$U1541" currency: UYU in_stock: true reviews_count: 8 url: https://www.desertcart.uy/products/9195257-mad-men-season-1-blu-ray store_origin: UY region: Uruguay --- # Mad Men: Season 1 [Blu-ray] **Price:** $U1541 **Availability:** ✅ In Stock ## Quick Answers - **What is this?** Mad Men: Season 1 [Blu-ray] - **How much does it cost?** $U1541 with free shipping - **Is it available?** Yes, in stock and ready to ship - **Where can I buy it?** [www.desertcart.uy](https://www.desertcart.uy/products/9195257-mad-men-season-1-blu-ray) ## Best For - Customers looking for quality international products ## Why This Product - Free international shipping included - Worldwide delivery with tracking - 15-day hassle-free returns ## Description Includes 13 episodes on 3 Discs. 2007/color/10 hrs., 16 min/NR. Review: Television worthy of the big screen: obsessive ad men and their (justifably) mad women - This is the first television series I've seen that feels like a theatrical movie rather than another jittery, overly busy, manipulative made-for-TV video series, with frequently good acting wasted on formulaic, or non-existent, plots (the "criminal minds" of the series by that title are the writers) relying upon sensation, violence, and cheap digital effects to hook and maintain the viewer's interest. Moreover, the characters in "Mad Men" are not cardboard stereotypes but multidimensional and complex. But perhaps not as much as they would like to think. Women viewers need not feel guilty about watching "Mad Men" on the basis of the following features designed to attract a large female audience: the compelling if not magnetic quality of the flawed but strong and reassuringly handsome lead, John Hamm, who plays ultra-cool ad man Don Draper (he's got the right charisma to anchor an entire James Bond movie series); the representation of women in the 1960's, a period that requires a woman to be at once a "toy doll," a "perfect housewife," and of course, an unquestionably competent secretary, who has nothing but time on her hands to perform her duties with unfailing mechanical precision, always ready with the proper smile or facial expression at the proper time (or risk being fired, and without the ceremony offered incompetent male employees). Needless to say, the women who "succeed" are those who are, by the unspoken requirements of their subordinate position, academy-award winning actresses, capable of either a. landing a man who is a paid ticket to a suburban castle with charming children (and servants to smooth out life's ruffles) or b. miraculously carving out a place where they are recognized for their actual abilities, talents and individual potential. The slights inflicted upon women on a continual basis are subtle and cumulative. Like the series itself, the duplicity required of women to succeed, or simply to survive, in the work place becomes manifest gradually, requiring the viewer to pay close attention to the smallest details of dialogue and "mis en scene" (by contrast, most television series make NO demands of their viewers because there's "nothing to look at": in the overwhelming majority of television dramas the moving camera and shock editing is relentless, continually loud and intrusive of the home spectator's viewing space: in television, it seems, "overstatement" rules, giving the viewer no room for choice let alone interpretation. The medium behaves as though its only mission is, as quickly and as surely as possible, to "captivate" a witless audience that will think and feel as the camera and sound-track dictate. "Mad Man" is, by contrast, an imitation of a far more recognizable life, one offering inscrutable, even dangerous "games" to every individual who's in the job market, desperate for a good job with benefits and opportunities for advancement but damned if he allows the urgency to show. Moreover, the series is undeniably, from its first smoke-filled shots, a "period piece" that represents the '60s as some of us will certainly (if reluctantly) remember those years. But it's more than a disturbing view of the past: it's a critique of the unexamined life and, necessarily, of the life of commercial television in the present age of "late"-capitalism, when even the most under-educated viewers are becoming increasingly aware of the unbreachable divide between the haves and the have-nots, between those who exploit and profit from the desires of the American consumer and those suddenly made aware of the high cost of the American Dream and its increasing distance from the vast majority. You may need to pick up the series for rescreening if, to select a chapter at random, you missed the following in Episode 7, "Red in the Face": The subtle collusion between Don and the elevator operator to assure the unforgettable climax of Roger's humiliation. Notice Don's brief business with him both before and after the oysterfest, and notice the expressions on Roger's and Don's faces at the end of the episode. Besides such details, consider the overaching design of the episode. The theme is male predators, survival of the fittest, and misplaced hubris. Roger will hit on Betty Draper, and the pathetic Pete will do the same with the store clerk who refuses to refund in cash his returned chip and dip. Both come up empty-handed, though both try to sustain their moment of heroism. Pete's sitting Peggy down on a couch to hear his story of gutting a rabbit and eating it in view of the fair damsel is parallell with Roger's stories to the overly appreciative (in Don's double-standard view) Betty. Then we have the chivalric subtheme of Betsy playing the fair princess to the unlikely 8-year-old knight whose mother's negligence leads to his coveting a lock of Betty's golden hair. It's a rare moment when Betty is both the object of adoration and an empathetic mother who reaches out (which she can't do with her own family). But just as Don blames her for Roger's bad behavior, the suddenly possessive mother of the wandering knight takes offense at Betty's gift. As usual, she's sent back to the psychiatrist, though the planting of the rifle as Pete's new toy will take its rightful place in the story when Betsy takes a gun to the neighbor's pidgeons. It's a moment of rage that is long overdue. Along with the examination of the pressure-cooker capitalism, the series is especially concerned with the roles demanded of (and therefore "played by") women. The seeds are being planted throughout the entire first season, but the fully realized force of the objectification and belittlement of women (nothing so obvious as "harassment") will culminate in a chilling, unforgettable and appropriately titled episode, "A Night to Remember," in the 2nd season (episode 8 from the 2008 season). The episode is a cinematic tour deforce, thus far the most ambitious chapter in a series that seems to be reinventing itself as it goes along, always improving. This particular segment is like vintage Robert Altman in its cross-cutting among the three women who have received the most attention. The time, historically, is the days immediately following news of Marilyn Monroe's suicide, and each of the three women--Joan, the queen-secretary who is herself a combination of keen intelligence in an hour-glass figure; Betty, the manipulated, blonde showgirl/perfect housewife/showcase trophy of Don Draper; Peggy, the innocent "country girl" who has wised-up sufficiently to the ways of men to play their game, attaining power to make decisions that will influence consumers throughout the nation--each of the three will receive potentially shattering epiphanies, showing them the emptiness of their programmed existences in a male-run world that expects of them only compliance along with adoration beyond any they themselves might receive for their physical attributes. The realizations of all three occur in a breath-taking "tour de force" of characterization. The potent mix of minimalist but thoughtful script-writing, artful directing, and "parallel" editing allows the viewer to receive the full force of three separate "actions" (actually, internal "epiphanies") occurring simultaneously. The series is uncomfortably faithful to the period, not only in its portrayal of male-female relationships in and outside the workplace but in the continuous gauzy veil of smoke thrown off by chain-smoking characters along with the ubiquitous portable bars in the offices of hard-drinking executives (just a few examples of the irony of the ad squad coming under the influence of its own subliminal messages). Most of the action is internal yet highly appealing to the eye, taking place in an office space that seems both capacious and capable of showing the viewer surprises and new discoveries with each episode. The colors are richly saturated--crisp and vibrant technicolor (not the faded, irridescent reds, blues, and greens that would replace them beginning in the late '60s and continuing throughout the 1970s), with a brightly lit, crystal clear, sharp resolution and a camera lens with revealing "depth of field" that takes full advantage of the big flat, high definition screens that have begun to dominate domestic space in just the past 5-6 years of the new millennium; the camera work--with striking angles but steady shots of sufficient duration to allow the spectator to see each crucial detail--has the professional sheen of a bonafide "auteur" such as the admired 1950s "Hollywood" director, Douglas Sirk. Frankly, I had all but "given up" on television--except for the talking heads on MSNBC and the mindless reality shows like "Pawn Stars" and "American Pickers." Most of what passes for television drama is manipulative and "busy" to a degree that the viewer is placed in the paradoxical position of having nothing to look at. Viewers are denied the "freedom to see" on their ever larger, higher definition screens. Everything of importance to the sponsors and filmmakers is magnified or grossly overstated, then thrown in the spectator's face by the hyperactive videocam and "shock" editing. But this series, sponsored appropriately enough by American Movie Classics, is the most refreshing, ground-breaking television drama since "All in the Family." We should all hope that it represents a new beginning rather than an anomaly, unique and distinguished as it is. Review: Mad Men Season One - Raw, Offensive, Powerful and Highly Addicting!!! - Mad Men - Season One has completely changed the way I view TV. I generally watch things at random and don't watch a lot of shows consistently. This is a show worth changing that for. It's hard to describe what makes this show such a rare event in TV. Somebody had the vision to put a show on TV that has something to say and is as raw, honest and true to the period it is based on. I, for one, am grateful for that. The show centers on the NY advertising world of the 1960s. Why "Mad Men?" The old row of famous agencies on Madison Avenue, of course. The men are sexist, rude, slicked up, and well dressed. The women are submissive yet cunning, half accepting sexism and half ignoring it. There's not a lot of political correctness here. That is bound to offend some. While my first reaction was to wonder as to the motives behind that, the truth is that after watching the show for a few episodes it becomes clear that the bigotry of the period is key to understanding the characters. Plenty that the characters say would get them fired today. For their era, sexist banter in the office was considered par for the course. There's also plenty of smoking, drinking and sexual situations. If you are very conservative this might not be for you. Yet even conservative people would have to warm up somewhat to the effectiveness of the portrayal. This show makes you believe you are witnessing things as they were. Not having been there, we can't know for sure. Regardless, this sure is convincing. There are some nice special features and extras sprinkled sparingly throughout the disks. Of course you have your usual commentary tracks on the episodes, which are actually worth listing to in my opinion. Not every show can say that. The behind-the-scenes documentary section is also standard fare, but well done. It covers the basic elements of how the show is put together, from characters, sets, makeup, wardrobes, and art design. You also get some small extras that are nice like a segment on scoring the music for the show, which is great, and audio clips of some of the period songs that are used. Because of the way the disks are set up, many of these specific extras are on the individual disks. So you have to search for them. Also, there are only a few episodes per disk (about 3). I guess those extras and commentary tracks took up a lot of disk space. Still, these are minor details. Conclusion This is a great show and well worth watching again and again. I hope you will check this out if you haven't already. Enjoy! ## Technical Specifications | Specification | Value | |---------------|-------| | Contributor | Christina Hendricks, Elisabeth Moss, Jon Hamm, Vincent Kartheiser | | Customer Reviews | 4.7 out of 5 stars 1,499 Reviews | | Format | AC-3, Blu-ray, Color, DTS Surround Sound, Dolby, Multiple Formats, NTSC, Subtitled, Widescreen | | Genre | TV | | Language | English | | Number Of Discs | 3 | ## Images ![Mad Men: Season 1 [Blu-ray] - Image 1](https://m.media-amazon.com/images/I/61IBymS1aUL.jpg) ## Customer Reviews ### ⭐⭐⭐⭐⭐ Television worthy of the big screen: obsessive ad men and their (justifably) mad women *by S***L on January 27, 2012* This is the first television series I've seen that feels like a theatrical movie rather than another jittery, overly busy, manipulative made-for-TV video series, with frequently good acting wasted on formulaic, or non-existent, plots (the "criminal minds" of the series by that title are the writers) relying upon sensation, violence, and cheap digital effects to hook and maintain the viewer's interest. Moreover, the characters in "Mad Men" are not cardboard stereotypes but multidimensional and complex. But perhaps not as much as they would like to think. Women viewers need not feel guilty about watching "Mad Men" on the basis of the following features designed to attract a large female audience: the compelling if not magnetic quality of the flawed but strong and reassuringly handsome lead, John Hamm, who plays ultra-cool ad man Don Draper (he's got the right charisma to anchor an entire James Bond movie series); the representation of women in the 1960's, a period that requires a woman to be at once a "toy doll," a "perfect housewife," and of course, an unquestionably competent secretary, who has nothing but time on her hands to perform her duties with unfailing mechanical precision, always ready with the proper smile or facial expression at the proper time (or risk being fired, and without the ceremony offered incompetent male employees). Needless to say, the women who "succeed" are those who are, by the unspoken requirements of their subordinate position, academy-award winning actresses, capable of either a. landing a man who is a paid ticket to a suburban castle with charming children (and servants to smooth out life's ruffles) or b. miraculously carving out a place where they are recognized for their actual abilities, talents and individual potential. The slights inflicted upon women on a continual basis are subtle and cumulative. Like the series itself, the duplicity required of women to succeed, or simply to survive, in the work place becomes manifest gradually, requiring the viewer to pay close attention to the smallest details of dialogue and "mis en scene" (by contrast, most television series make NO demands of their viewers because there's "nothing to look at": in the overwhelming majority of television dramas the moving camera and shock editing is relentless, continually loud and intrusive of the home spectator's viewing space: in television, it seems, "overstatement" rules, giving the viewer no room for choice let alone interpretation. The medium behaves as though its only mission is, as quickly and as surely as possible, to "captivate" a witless audience that will think and feel as the camera and sound-track dictate. "Mad Man" is, by contrast, an imitation of a far more recognizable life, one offering inscrutable, even dangerous "games" to every individual who's in the job market, desperate for a good job with benefits and opportunities for advancement but damned if he allows the urgency to show. Moreover, the series is undeniably, from its first smoke-filled shots, a "period piece" that represents the '60s as some of us will certainly (if reluctantly) remember those years. But it's more than a disturbing view of the past: it's a critique of the unexamined life and, necessarily, of the life of commercial television in the present age of "late"-capitalism, when even the most under-educated viewers are becoming increasingly aware of the unbreachable divide between the haves and the have-nots, between those who exploit and profit from the desires of the American consumer and those suddenly made aware of the high cost of the American Dream and its increasing distance from the vast majority. You may need to pick up the series for rescreening if, to select a chapter at random, you missed the following in Episode 7, "Red in the Face": The subtle collusion between Don and the elevator operator to assure the unforgettable climax of Roger's humiliation. Notice Don's brief business with him both before and after the oysterfest, and notice the expressions on Roger's and Don's faces at the end of the episode. Besides such details, consider the overaching design of the episode. The theme is male predators, survival of the fittest, and misplaced hubris. Roger will hit on Betty Draper, and the pathetic Pete will do the same with the store clerk who refuses to refund in cash his returned chip and dip. Both come up empty-handed, though both try to sustain their moment of heroism. Pete's sitting Peggy down on a couch to hear his story of gutting a rabbit and eating it in view of the fair damsel is parallell with Roger's stories to the overly appreciative (in Don's double-standard view) Betty. Then we have the chivalric subtheme of Betsy playing the fair princess to the unlikely 8-year-old knight whose mother's negligence leads to his coveting a lock of Betty's golden hair. It's a rare moment when Betty is both the object of adoration and an empathetic mother who reaches out (which she can't do with her own family). But just as Don blames her for Roger's bad behavior, the suddenly possessive mother of the wandering knight takes offense at Betty's gift. As usual, she's sent back to the psychiatrist, though the planting of the rifle as Pete's new toy will take its rightful place in the story when Betsy takes a gun to the neighbor's pidgeons. It's a moment of rage that is long overdue. Along with the examination of the pressure-cooker capitalism, the series is especially concerned with the roles demanded of (and therefore "played by") women. The seeds are being planted throughout the entire first season, but the fully realized force of the objectification and belittlement of women (nothing so obvious as "harassment") will culminate in a chilling, unforgettable and appropriately titled episode, "A Night to Remember," in the 2nd season (episode 8 from the 2008 season). The episode is a cinematic tour deforce, thus far the most ambitious chapter in a series that seems to be reinventing itself as it goes along, always improving. This particular segment is like vintage Robert Altman in its cross-cutting among the three women who have received the most attention. The time, historically, is the days immediately following news of Marilyn Monroe's suicide, and each of the three women--Joan, the queen-secretary who is herself a combination of keen intelligence in an hour-glass figure; Betty, the manipulated, blonde showgirl/perfect housewife/showcase trophy of Don Draper; Peggy, the innocent "country girl" who has wised-up sufficiently to the ways of men to play their game, attaining power to make decisions that will influence consumers throughout the nation--each of the three will receive potentially shattering epiphanies, showing them the emptiness of their programmed existences in a male-run world that expects of them only compliance along with adoration beyond any they themselves might receive for their physical attributes. The realizations of all three occur in a breath-taking "tour de force" of characterization. The potent mix of minimalist but thoughtful script-writing, artful directing, and "parallel" editing allows the viewer to receive the full force of three separate "actions" (actually, internal "epiphanies") occurring simultaneously. The series is uncomfortably faithful to the period, not only in its portrayal of male-female relationships in and outside the workplace but in the continuous gauzy veil of smoke thrown off by chain-smoking characters along with the ubiquitous portable bars in the offices of hard-drinking executives (just a few examples of the irony of the ad squad coming under the influence of its own subliminal messages). Most of the action is internal yet highly appealing to the eye, taking place in an office space that seems both capacious and capable of showing the viewer surprises and new discoveries with each episode. The colors are richly saturated--crisp and vibrant technicolor (not the faded, irridescent reds, blues, and greens that would replace them beginning in the late '60s and continuing throughout the 1970s), with a brightly lit, crystal clear, sharp resolution and a camera lens with revealing "depth of field" that takes full advantage of the big flat, high definition screens that have begun to dominate domestic space in just the past 5-6 years of the new millennium; the camera work--with striking angles but steady shots of sufficient duration to allow the spectator to see each crucial detail--has the professional sheen of a bonafide "auteur" such as the admired 1950s "Hollywood" director, Douglas Sirk. Frankly, I had all but "given up" on television--except for the talking heads on MSNBC and the mindless reality shows like "Pawn Stars" and "American Pickers." Most of what passes for television drama is manipulative and "busy" to a degree that the viewer is placed in the paradoxical position of having nothing to look at. Viewers are denied the "freedom to see" on their ever larger, higher definition screens. Everything of importance to the sponsors and filmmakers is magnified or grossly overstated, then thrown in the spectator's face by the hyperactive videocam and "shock" editing. But this series, sponsored appropriately enough by American Movie Classics, is the most refreshing, ground-breaking television drama since "All in the Family." We should all hope that it represents a new beginning rather than an anomaly, unique and distinguished as it is. ### ⭐⭐⭐⭐⭐ Mad Men Season One - Raw, Offensive, Powerful and Highly Addicting!!! *by M***K on October 18, 2008* Mad Men - Season One has completely changed the way I view TV. I generally watch things at random and don't watch a lot of shows consistently. This is a show worth changing that for. It's hard to describe what makes this show such a rare event in TV. Somebody had the vision to put a show on TV that has something to say and is as raw, honest and true to the period it is based on. I, for one, am grateful for that. The show centers on the NY advertising world of the 1960s. Why "Mad Men?" The old row of famous agencies on Madison Avenue, of course. The men are sexist, rude, slicked up, and well dressed. The women are submissive yet cunning, half accepting sexism and half ignoring it. There's not a lot of political correctness here. That is bound to offend some. While my first reaction was to wonder as to the motives behind that, the truth is that after watching the show for a few episodes it becomes clear that the bigotry of the period is key to understanding the characters. Plenty that the characters say would get them fired today. For their era, sexist banter in the office was considered par for the course. There's also plenty of smoking, drinking and sexual situations. If you are very conservative this might not be for you. Yet even conservative people would have to warm up somewhat to the effectiveness of the portrayal. This show makes you believe you are witnessing things as they were. Not having been there, we can't know for sure. Regardless, this sure is convincing. There are some nice special features and extras sprinkled sparingly throughout the disks. Of course you have your usual commentary tracks on the episodes, which are actually worth listing to in my opinion. Not every show can say that. The behind-the-scenes documentary section is also standard fare, but well done. It covers the basic elements of how the show is put together, from characters, sets, makeup, wardrobes, and art design. You also get some small extras that are nice like a segment on scoring the music for the show, which is great, and audio clips of some of the period songs that are used. Because of the way the disks are set up, many of these specific extras are on the individual disks. So you have to search for them. Also, there are only a few episodes per disk (about 3). I guess those extras and commentary tracks took up a lot of disk space. Still, these are minor details. Conclusion This is a great show and well worth watching again and again. I hope you will check this out if you haven't already. Enjoy! ### ⭐⭐⭐⭐⭐ TV mini-series at its best *by M***T on January 1, 2014* The 52 episodes of "Mad Men" Seasons 1 Through 4 constitutes a sort of masterpiece in TV mini-series. What makes it so good are the subject matter, casting, care in creating the early-60s atmosphere, and the unity and consistency that comes from a single person (in this case Matt Weiner) having co-authorship in every episode. Such a mini-series is to a 2-hour movie as a novel is to a short story. The main subject is the self-awakening of Dan Draper, the creative head of the concepts department of a Madison Avenue advertising firm. Dan Draper is played by Jon Hamm, a very good actor with a lot of live-theater experience. Hamm is a commanding presence, looks the part, and is up to the challenges of this demanding role. Dan Draper is a talented man functioning brilliantly in his professional career, but he is an alcoholic, a dysfunctional husband (although a reasonably good father), and a compulsive womanizer. We learn, as he learns, from his mental flashbacks that occur from time to time, that he is a man escaping from a very difficult childhood. We root for him despite his flaws because he is troubled and displays an innate decency at key moments. By the end of series 4 he has achieved a certain level of self-awareness, and we the audience have been on an interesting journey. Personally, I think they should have stopped with series 4, but that's a different story. The rest of the ensemble cast is generally excellent. There are many interesting sub-plots. We follow the rise from secretary to Dan Draper's co-worker of Peggy. Its a struggle all the way for her in the pre-Feminist world of the early 60s. I have the Blu-ray versions of seasons 1 through 4, which I purchased individual. Each season is 13 episodes spread across 3 Blu-ray discs. The picture quality and sound quality are fine. There is an optional commentary track for each episode. The presentation is fine. --- ## Why Shop on Desertcart? - 🛒 **Trusted by 1.3+ Million Shoppers** — Serving international shoppers since 2016 - 🌍 **Shop Globally** — Access 737+ million products across 21 categories - 💰 **No Hidden Fees** — All customs, duties, and taxes included in the price - 🔄 **15-Day Free Returns** — Hassle-free returns (30 days for PRO members) - 🔒 **Secure Payments** — Trusted payment options with buyer protection - ⭐ **TrustPilot Rated 4.5/5** — Based on 8,000+ happy customer reviews **Shop now:** [https://www.desertcart.uy/products/9195257-mad-men-season-1-blu-ray](https://www.desertcart.uy/products/9195257-mad-men-season-1-blu-ray) --- *Product available on Desertcart Uruguay* *Store origin: UY* *Last updated: 2026-04-23*