1980s, Al Pacino, Arrow Video, Blu Ray, crime drama, cult, Drama, erotic, Gay, genre, https://www.facebook.com/scarletthefilmmagazine/, JOE SPINELL, Karen Allen, Mystery, New York City, nudity, review, SCARLETTHEFILMMAGAZINE.WORDPRESS.COM, Serial Killer, sex, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, William Friedkin

CRUISING (Arrow Video Blu Ray)

CRUISING (Arrow Video Blu Ray) – released August 20,2019 Color. 102 min.
$39.95 U.S. REGION A/1 https://www.youtube.com/watch?v=1aezm39HOBY

Original Theatrical Release February ,1980 Lorimar /U.A. (production cost estimate: $11 million .domestic gross – $19,784,223) Rated R.

 

https://www.amazon.com/Cruising-Special-Blu-ray-Al-Pacino/dp/B07SJHGNVZ/ref=sr_1_1_sspa?crid=2PYFLLZV3FOGR&keywords=cruising+blu+ray&qid=1566827996&s=gateway&sprefix=cruisin%2Caps%2C156&sr=8-1-spons&psc=1&spLa=ZW5jcnlwdGVkUXVhbGlmaWVyPUEyT0JVN1pUNjlJT1g2JmVuY3J5cHRlZElkPUExMDQyNDQ5MjhXRlJQTjZXMTNXNiZlbmNyeXB0ZWRBZElkPUEwMzMxMzA0MzlGOU1BWUZIUDVUSyZ3aWRnZXROYW1lPXNwX2F0ZiZhY3Rpb249Y2xpY2tSZWRpcmVjdCZkb05vdExvZ0NsaWNrPXRydWU=

 

Ten years after directing THE BOYS IN THE BAND (National General ,1970), director William Friedkin took on another controversial gay themed subject, CRUISING. In the years since THE BOYS IN THE BAND, Friedkin had established himself as a director of thrilling films, such as THE FRENCH CONNECTION (Fox,1971) and the box office mega-hit THE EXORCIST (WB,1973).

 

At first, when producer Philip D’Antoni (THE FRENCH CONNECTION) broached the idea of a film based upon reporter Gerald Walker’s 1970 novel, CRUISING (Stein & Day, hardback), the director was not interested. D’Antoni then tried to interest an upcoming new director called Stephen Spielberg, but who finally also gave the project a pass.


The novel deals with an undercover cop named John Lynch (renamed Steve Burns in the later movie adaptation). Lynch is asked to go undercover into the leather bar s&m scene of the gay bars in Greenwich Village. We learn that a serial killer who cruises the leather bars has already killed four men. A straight male who is repulsed by the gay lifestyle, he sees the assignment as one that can help him advance in his career quickly, so he accepts.

The Stonewall Riots were less than a year old at the time, and before then, homosexuality had been treated as a perversion, with police regularly rounding up homosexuals . Indeed, it wasn’t until 1980 that the NY Court of Appeals abolished laws against private consenting homosexual conduct between adults (New York v. Onofre). That this was the same year as CRUISING was released probably added to the tension/controversy of the film but more of that later.

Lynch has a relationship with a woman, but while he is undercover, he starts to develop feelings for one of his gay neighbors. Will he be able to solve the murders and prevent further killings, while he deals with his own personal confusion?

As a mystery, CRUISING the novel let’s us know who the killer is early on so it is just a matter of when Lynch will cross the murderer’s path. Also, Lynch seems to be a bit of an Archie Bunker, with a lot of stereotypical comment by our “hero” against Gays (“fags”), Puerto Ricans, blacks, etc. The picture it paints of New York City seems to be the same one that Travis Bickle would cruise in his vehicle years later in TAXI DRIVER (Columbia ,1976).


Indeed, New York had begun a decline that it took several decades to climb slowly back out from. Drugs, murders, homelessness, prostitution, rape, and urban flight caused the city that never sleeps to become what many viewed as Hell On Earth, an image not helped by films like DEATH WISH (Paramount ,1974).

 

The rights next went to agent turned producer Jerry Weintraub (NASHVILLE, Paramount, 1975) who approached Friedkin with the work. This time, the director was more receptive to a cinematic re-imagining of the novel.

In the intervening years, a series of murders of homosexual men had occurred in New York that were chronicled in The Village Voice by reporter Arthur Bell.

Friedkin was acquainted with undercover police detective Randy Jurgenson (who acted as a consultant on THE FRENCH CONNECTION). Jurgenson, a purple heart awarded veteran who had fought in the battle of Pork Chop Hill in 1953, told the director that he had served uncover investigating the gay culture of New York.

Another odd co-incidence was that Paul Bateson, a doctor’s assistant who appears in THE EXORCIST (the hospital exam scene, which many find more frightening than the more supernatural occurrences) was charged in the murder of Variety Reporter Addison Verrill.

Friedkin worked upon the screen adaptation himself in consultation with Jurgenson and Salvatore “Sonny” Grosso (whose exploits with Eddie Egan inspired THE FRENCH CONNECTION, on which they also provided consultation). Both detectives  took small roles in the film . The writer-director, along with several of his team, made several trips to the various notorious hardcore gay clubs ,such as the Mineshaft and the Anvil, both located in the meatpacking district of the city. It was known as that as during the day that is where beef and other meats were delivered, while at night it became an area that most people stayed far away from. The clubs were closed during the height of the AIDS crisis in the Mid- Eighties, and now the district is gentrified and high priced shops, restaurants and hotels.

  The Liberty Inn now occupies the space of the infamous Anvil. 

 

 

Friedkin says all the details was accurate, no matter how far fetched they may have seemed. Friedkin gave camera operator James A. Contner (THE BRINKS JOB) his first chance to be Director of Photography. Contner wanted to shoot the film in black and white but drained the color down in most of the scenes in the clubs while shooting at night nearly accomplished the same effect.

Friedkin also brought on editor Bud S Smith (with whom he worked on SORCERER (Universal/Paramount ,1977 and THE BRINKS JOB (DeLaurentiis /Universal, 1978). An under acknowledged part of filmmaking is casting. Friedkin turned to Louis Di Giaimo who had worked with the director in the past. He presented the director with a short list of actors who he felt would be right for the roles, and Friedkin seemed to agree with the choices of mostly stage trained New York performers for the featured speaking roles. The people who are members of the club scenes are actual people who frequented the clubs, and as Friedkin said, they realized the filmmaker was not being judgmental but merely working almost as a documentarian in those scenes. The sex scenes were to give the MPAA and the filmmakers major headaches when it came to a rating.

The filmmakers had originally wanted Richard Gere for the lead role, probably due to his role in the 1979 Broadway production of BENT, wherein Gere had portrayed a gay man in a concentration camp. Al Pacino expressed interest and finally won the part. This would lead to some problems for the filmmaker, as he felt that Pacino came to set unprepared. It might have been that Pacino wanted to approach each scene like the character, surprised by what he experienced.


Filming was often disrupted by protests. Arthur Bell, whose articles had somewhat shaped the events within the screen play, somehow got a copy of the script and he urged the gay community to protest. To this end , production was disrupted by loud noises, requiring massive ADR work (dubbing). This may have worked to the film’s advantage, as several suspects and characters were dubbed by the same actor, helping to throw off audiences guesses as to who the killer was. Also, the sounds of keys and leather were amplified, both items of importance in this sub section of gay culture.

 

Several times there was need of police protection and escort for the actors to get to and from locations. Luckily, though there were a few arrests, there is no record of any violence or injury to anyone involved.

 

The plot involves several body parts found floating in the Hudson River. Fingerprints from one of the hands found leads them to discover that the killings are of several gay men. The police decide to send an officer deep undercover to see who is killing these men. Officer Steve Burns (Al Pacino) an ambitious officer sees this as a chance for advancement when he is picked for the assignment.

He moves down to the Village, and sets up a false persona, becoming friends with his next door neighbor, Ted (Don Scardino, SQUIRM, AIP ,1976).One of the people that Burns suspects of being a suspect gets brutalized by the police. Burns almost quits, but his captain (Paul Sorvino, THE BRINKS JOB). convinces him to stay and chastises all who harassed the hapless falsely accused man.

What Burns discovers during his investigations starts to play games with his mental well being ,as well as hurting his relationship with his girlfriend ,Nancy (Karen Allen, who would leap to international recognition for her starring role alongside Harrison Ford in RAIDERS OF THE LOST ARK ,Paramount ,1981).to whom he cannot tell what his assignment is or what it entails.

The film drops a lot of suspects and clues, but many find that the ending is a cop-out, leaving many frustrated as to who indeed is the killer. Revisiting the film again ,I now find that the ending is a perfect finish for this unique production

The cast includes a fine selection of character actors, including Joe Spinell (the same year he would also make New York extra creepy as a psychopath killer in MANIAC (Analysis,1980),appearing here as a cop who abuses the transvestites ; Ed O’Neill (tv’s long running MODERN FAMILY, ABC,2009- still running as of this writing) ,here as a detective, James Remar ( Dexter’s father on the long running tv series DEXTER ,Showtime, 2006-2013), portraying Ted’s abuser lover ; and Powers Booth (SIN CITY, Miramax ,2005) as a store owner who explains the significance of certain handkerchiefs and how they are worn in the gay world. Except for Karen Allen, women hardly exist in this society.

The attacks upon the film didn’t end with the end of production, as the MPAA kept slapping the film with an X, a kiss of death at the box office. Friedkin submitted about 40 minutes of graphic sex that he knew the MPAA would want cut, so he cut keep the majority of what he wanted as a compromise. There are subliminal flashes of gay sex during the murder sequences, with the idea of sex and the knife melded into one (two forms of penetration).

 

The critics also for the most part savaged the film, with few exceptions ,so it is surprising that the film, that cost nearly $11 million to make, nearly doubled its cost, making it, if not a hit, at least not a money loser.

It is also interesting that 1980 was also the year that Brian DePalma mixed sex and violence in his DRESSED TO KILL(Filmways/Orion). While there were protests about the combination in this film, audiences were more willing to be titillated by heterosexual love mixed with slashing, becoming an international hit, making about 5 times it’s budget.

By the way , did anyone ever notice that the 1982 Paramount film PARTNERS , written by Frances Verber, who created the original LA CAGE AUX FOLLES (French ,U,A,,1978) seems to be a buddy picture reworking of the plot of CRUISING?  In PARTNERS ,Ryan O’Neal is a straight cop assigned to go undercover to find a killer targeting homosexual men , only here he is paired with an actual gay officer ,played by John Hurt channeling Kenneth Williams.

 

Over the years, opinions have changed upon how the film is viewed, with many feeling it is among Friedkin’s best works.

It was released to VHS and seen widely at video stores, first released in a large box, and then a small box when it was reissued.

 

It became perhaps viewed when it was released to HBO cable, showing at midnight or later.

Finally, in 2007, it was released on DVD by Warner Brothers (who had acquired Lorimar) in a special edition version with extras like
• Commentary by director William Friedkin
• The History of Cruising
• Exorcising Cruising
• Theatrical trailer

and then later a burn on demand without extras from Warner Archives in 2013.

 

Arrow Video has now given us what may be the definitive version of this film.

First off, this is a Director Approved Special Edition with a 4K Scan H9 Def (1080p) Blu-ray of the original camera negative, supervised and approved by William Friedkin .

 

The sound has also been given a newly remastered 5.1. DTS-HD Master Audio track again supervised by Friedkin.

 

Optional English subtitles for the deaf and hard of hearing. This follows the dialog and indicates sounds quite accurately for those wishing to use this captioning.

A new audio commentary with Friedkin and film critic Mark Kermode. Friedkin is very frank about the film, talking about how the opening title card has been removed for this release, since it was only put on as a sop for those who might have been squeamish or offended by the film. Kermode knows the director’s body of work pretty well, and prompts quietly the conversation, often commenting on actions on screen while diverting effortlessly of the behind the scenes problems and joys of the production.

Friedkin mentions that he felt Pacino would arrive seemingly unprepared for the day’s set ups, while talking about how he tried to keep the actors unbalanced and on their toes. It could be that Pacino, method actor that he was, wanted to go into the scenes with the same wide-eyed innocence that his character would feel walking into the strange new world that has such people in it.

Also original to this release is an enclosed booklet with an excellent overview by film historian F.X. Feeney, who talks about seeing the film on it’s opening day.

Reversible Blu Ray cover

Ported over from the 2007 DVD release are

An archival audio commentary by William Friedkin. It is interesting to compare the two commentaries. The original is fact filled but a bit dry, while the newer one as stated the director seems a lot more engaged and relaxed. Both are definitely worth listening to, so kudos for Arrow for making the extra effort.

The History of CRUISING -interviews with several of the people involved in the film such as Friedkin, Grosso, and many others.

Exorcising CRUISING -examines the controversy and aftermath of the film’s release. Many of the same people from the previous featurette appear, as well as actors like actor Richard Cox.

 

Original Theatrical Trailer- the trailer tries to avoid mentioning the homosexual aspects of the film, which makes the film seem more like a generic police procedural (though with lots of leather!).

CRUISING is not a film for everyone. It is a challenging film on a subject that many people will not wish to explore. The film’s ending is not an easy clear cut one, open to debate as to its meaning .

Those reason though also make the film Highly Recommended to those who appreciate films that challenge you and your perceptions .

In an age of superhero franchises, CRUISING is a film that no major studio would even consider creating, making it all the more unique and worth seeking out.

Another Arrow Video must buy release.

For fans of
AL PACINO
WILLIAM FRIEDKIN
POLICE PROCEEDURALS
NY BASED THRILLERS
ORIGINAL,THOUGHT PROVOKING FILMS

-Kevin G Shinnick

Please ‘Like’ and follow us here  https://scarletthefilmmagazine.wordpress.com

and our Facebook page.  https://www.facebook.com/SCARLETreviews/

Would you like to submit reviews or artwork ? Contact us at  scarletthefilmmag@yahoo.com

Advertisements
Standard
1960s, Action Adventure, Blu Ray, Classic Hollywood, Drama, F. Lee Thompson, film, Fox, Gregory Peck, https://www.facebook.com/scarletthefilmmagazine/, Political Thriller, political thriller, review, SCARLETTHEFILMMAGAZINE.WORDPRESS.COM, Spy, spy thriller, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Twilight Time Blu Ray

THE CHAIRMAN (Twilight Time Blu Ray)

THE CHAIRMAN (Fox,1969) TWILIGHT TIME Blu Ray July,2019. Color 98 minutes. Region Code: Region Free (A/B/C) Limited Edition of 3,000 Units $29.95
https://www.twilighttimemovies.com/chairman-the-blu-ray/

 

The 1960s was a time when spy stories were incredibly popular. James Bond of course became a cultural phenomenon, but also the pop culture reflected the tensions that had been growing since the Cold War began in 1947.

 

Most of the films dealt with the conflict between the United States and the U.S.S.R. Indeed, The Berlin Wall became a physical demarcation line for the cultural and political differences between these two superpowers.

 

Few stories, however, dealt with the other large Communist nation that was at social odds with the West. Red China had become Communist in 1949, and, under the leadership of Mao ZeDong, a cruel regime was established that had millions dying from starvation, or inhumane torture and imprisonment.

One of the only movies to deal with the political tensions between the United States and the People’s Republic of China (which Mao led until his death in 1976) is the 1969 Twentieth Century Fox production, THE CHAIRMAN.

 

 

The novel was written by Jay Richard Kennedy. Kennedy worked as Harry Belafonte’s manager for years, before becoming V.P. of Sinatra Enterprises, as well as a story editor. He began to develop an idea for Sinatra (along the lines of his hit THE MANCHURIAN CANDIDATE, UA 1962) that would film in Hong Kong, and costar Spencer Tracy and Yul Brynner. When that didn’t happen, he turned it into a novel. Kennedy had some inside knowledge of the spy game, as, feeling that Communists were infiltrating certain political groups, he also worked as an informant for the FBI and CIA.

 

Fox picked up the rights to the novel, and a screenplay was fashioned by Ben Maddow (who was Oscar nominated for his work on THE ASPHALT JUNGLE (MGM, 1950) before being blacklisted and forced to work uncredited through a “front” writer until 1958. Producers Mort Abrahams (who began producing early tv sci fi like TOM CORBETT,SPACE CADET,CBS ,1950-1955) and Arthur Jacob were able to bring Gregory Peck (Oscar winner for TO KILL A MOCKINGBIRD, Universal,1962) into the project (Jacobs’ formerly had a company wherein he had been Peck’s publicist) giving the project some star power.

 

Also added to the cast was Golden Globe nominee Anne Heywood, Tony Award winner Arthur Hill, classic film favorite Keye Luke (number one son to Warner Orland’s Charlie Chan in seven films), Burt Kwouk (Cato in six Pink Panther films),and actor Conrad Yama. Yama had been Mao in Edward Albee’s avant-garde play “Box-Mao-Box,” which premiered in Buffalo and opened on Broadway in October ,1968, which led to his casting in this film. The American actor of Japanese descent even portrayed the Chinese leader for several advertising agencies!

Action director Lee Thompson, who had directed Peck in GUNS OF NAVARONE (Columbia,1961) and CAPE FEAR (Universal,1962), was brought in to direct. Thompson also directed Peck in MACKENNA’S GOLD(Columbia,1969) that same year.

 

Due to the closed society of China and the film’s subject matter, the production team decided to film in Taiwan, with some exterior locations filmed in the rougher terrain of Snowdonia, Gwynedd, Wales! Some other location work was done in London, as well as some sets being built at Pinewood Studios.

The science fiction tinged tale concerns a University Professor, Dr John Hathaway (Peck) being asked to investigate a possible new Chinese discovery, which allows them to grow food in areas formerly considered too inhospitable or harsh to sustain growth prior.

 

A one-way transmitter is implanted into his skull (he can transmit but cannot receive messages) that also can be used as an explosive device to prevent him from falling into Chinese hands, should he be captured.

Peck goes to Hong Kong, under the pretense of visiting an old colleague (Keye Luke). Suspicion abounds, and he is the subject of intense interest by the Chinese and the Russians (who, like the U.S., do not want China to be the only mega-power with this special growth enzyme.). Things get a bit more intense when Mao himself wants to meet with the Professor.


Double crosses and murder follow, leading to a chase leading up to the Russian border.

As I am writing this, Hong Kong is in it’s second week of protests and marches against China ,while  there are also massive marches taking place within Russia against their oppressive government.

This film suddenly has gone from a relic of cold war geo-politics as possibly reflective of what is to come.

When first released, the film was not a financial success, losing to audiences flocking to the flashier ON HER MAJESTY’S SECRET SERVICE (UA). Hitchcock’s own political thriller, TOPAZ(Universal) also failed to find an audience in that summer of MIDNIGHT COWBOY (UA) and EASY RIDER (Columbia).

In England, THE CHAIRMAN  was released as “The Most Dangerous Man in the World”, whose title makes you wonder were they referring to Mao or to the character Peck played?

 

The Twilight Time presentation, need I say, is, as always, first rate. The Region Free (A/B/C) 1080p High Definition print is as good as one has come to expect from the company, with the work of cinematographer John Wilcox (GUNS OF NAVARONE) and an uncredited Ted Moore (A MAN FOR ALL SEASON, Columbia ,1966) shown to fill the full 2.35:1 ratio frame ,particularly in shots as the camera pans through the Hong Kong clubs or at the ending during the final chase.


The sound is available in English 2.0 DTS-HD MA or English 1.0 DTS-HD MA .The original Mono sound has been cleaned up, and I noticed no pops or hiss upon the soundtrack, but I noticed very little difference switching back and forth between the two tracks (except for the explosions seemed a bit louder on the 2.0). There is also optional English SDH that follows the dialogue and action accurately.

 

The extras:

Jerry Goldsmith’s score is available on a separate isolated music /sound effects track. Though not as strong as his score for THE SAND PEBBLES (Fox,1966), even lesser Goldsmith is superior to the best work of many other composers. The OST on CD, released in 2011, is now commanding prices of nearly $100, so this alone makes the Blu Ray a bargain.

 

Audio Commentary with Film Historians Eddy Friedfeld and Lee Pfeiffer. The duo has done many other Twilight Time commentary tracks (OUR MAN FLINT, Fox 1966), and, as usual, are very relaxed in tone but informative.

The Chairman Mini-Film – This little oddity is an abridged version of the movie, almost as if it was one of those Super 8mm versions available in the 1980s. I assume it was made to give the press an idea of the film without showing the entire production.

Two Alternate Scenes from the International Version. -Even until 1969, filmmakers were shooting two versions, one for general audiences and for more restrictive markets, and then a bit racier (i.e. female nudity) for certain foreign markets.

Original Film Trailer.

RECOMMENDED for fans of
GREGORY PECK
Political Thrillers

-Kevin G Shinnick

 

“Like “and follow us on
https://scarletthefilmmagazine.wordpress.com/
and
https://www.facebook.com/SCARLETreviews/

 

We are looking for other writers, reviewers, artists who wish to contribute to SCARLET THE FILM MAGAZINE.
Have an interesting project? Let us know. We make no guarantee of review, but we try and support indie projects where we can. Email : scarletthefilmmag@yahoo.com 

Books, music, theatre, film.

Standard
2019, Blu Ray, Dennis Quaid, Drama, dvd, film, genre, Home Invasion, Horror, https://www.facebook.com/scarletthefilmmagazine/, Joseph Sikora, Meagan Good, Michael Ealy, Mystery, review, reviews, SCARLETTHEFILMMAGAZINE.WORDPRESS.COM, Serial Killer, Sony, streaming, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized

THE INTRUDER (Sony,2019)

THE INTRUDER (Sony) Thriller. PG-13. Color .84 Minutes.

Blu Ray /DVD/ download and streaming available from Apple TV, AMAZON, Google Play and More

Reviewed DVD. Available July 30, 2019

THE INTRUDER* was one of those films that snuck out into the market in May before its release upon home video on July 30th. The $8 million film took in a domestic box office of $35 million, a tidy profit for the flick.

The movie harkens back to earlier “crazies in your home films” like PACIFIC HEIGHTS (Fox,1990) as well as aiming at audiences who jumped out of their seats at GET OUT (Universal,2017).

 

While not as strong as either of those two films (few are), THE INTRUDER is a good evening’s entertainment.

The Russells , Scott (Michael Ealy, starring in the soon to be released remake of JACOB’S LADDER, Vertical, 2019) buys his wife Annie (Meagan Good ,star of the upcoming Paul W.S. Anderson sci fi film , MONSTER HUNTER ,Screen Gems,2020 ) a house in Napa Valley . When they meet the current owner, Charlie Peck (Randy Quaid, BENEATH THE DARKNESS, Image 2011), they should have turned around and said nope this is going back on sale.

 

Charlie jumps out of some bushes, shoots a deer, then stands over it and proceeds to shoot the helpless animal some more. Seeing this, I was reminded of Eddie Murphy’s routine about black people starring in horror films.

“You can’t make a horror with black people in it cause the movie would stop.

Wow, baby this is beautiful, we got a chandelier hanging up there, kids outside playing, it’s a beautiful neighborhood. I really love this.”

“Getttt Ouuuuutttt”

“Too bad we can’t stay …”

Unluckily, it seems the Russell’s never heard that classic routine, and move in.

The problem becomes that Charlie just can’t leave his beloved home, which has been in his family for generations, and where we learn that his wife died from a shotgun blast, suspected at being self-inflicted. Charlie pops up riding his lawn mower around and starts yelling at workers drilling to install security systems, as if he still owns the place.

Annie, ever the gracious hostess, invites Charlie to a dinner. At the dinner, Mike (Joseph Sikora, also appearing in the upcoming JACOB’S LADDER), a friend of the Russells, insults Charlie and puts out a cigarette on the lawn that Charlie had earlier mowed.

The following day, there is a cigarette burn on the driver’s seat of Mike’s car, and he starts warning the couple that Charlie is looney tunes.

 

Joseph Sikora

Charlie keeps showing up at the house, more unhinged but Annie keeps letting him in, defying logic as well as warnings from Scott.

It results in a final showdown between Charlie and the couple.

The film requires audiences to suspend belief (and logic) several times for the film to work, but we keep watching, due to the fine cast.

Director Deon Taylor had directed a similar type film with TRAFFIK (Lionsgate, 2018).

Writer David Loughery wrote DREAMSCAPE (Fox, 1984), which incidentally had starred a younger Dennis Quaid as a hero. He also is infamous for STAR TREK V (Paramount, 1989) so make of that what you will.

The picture quality is fine, with no outstanding flourishes.

 


Sound is fine (5.1 Dolby), though some of the gunshots seemed to be a bit louder than expected. The audio is available in English and subtitled in Spanish, English SDH, and French.

Extras include

An Alternate Ending

Deleted Scenes

A Gag Reel

A Cast and Filmmaker commentary

And a short making of: Behind the Scenes of Foxglove (Foxglove being the name of the House).

A decent B movie and fun to watch Quaid go full Jack Nicholson towards the end.

-Kevin G Shinnick

*No connection to the Sony 2015 horror film THE INTRUDERS, the 1999 Canadian film THE INTRUDER, THE INTRUDER (1975), a lost Mickey Rooney(!) thriller, or the Roger Corman THE INTRUDER (Filmgroup,1962), starring William Shatner.

Like and Follow SCARLET THE FILM MAGAZINE here

https://scarletthefilmmagazine.wordpress.com

                                                                    and on Facebook

https://www.facebook.com/pg/SCARLETreviews

Standard
1980s, Blu Ray, british, Drama, film, https://www.facebook.com/scarletthefilmmagazine/, independent, independent film, nudity, review, reviews, SCARLETTHEFILMMAGAZINE.WORDPRESS.COM, sex, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Twilight Time, Twilight Time Blu Ray, Uncategorized

HUSSY (Twilight Time Blu Ray)

 

HUSSY (TWILIGHT TIME Blu Ray,2019) original theatrical release UK-Watchgrove Films,1980. Color. Rated R. 95 min. 1080p High Definition / 1.85:1 English 1.0 DTS-HD MA.\No subtitles. REGION FREE. Extras -Original Theatrical Trailer. $29.95  https://www.twilighttimemovies.com/hussy-blu-ray/

 

In the 1970s, Joan Collins starred in two low budget soft core porn films, THE STUD (Brett Walker,1978) and THE BITCH (Brett Walker,1979). Both were low budget films, but based upon steamy novels by Joan’s sister Jackie, and done with style and enough sex scenes provided by Ms. Collins, the films were enormously profitable, especially when they were some of the first films licensed for the brand-new home video market.

 

Other producers looked at the profits and tried to come up with films of a similar nature. HUSSY seems to be a film that came into being with that idea, but the producers got a film with a lot more depth than they expected.

Writer /Director Matthew Chapman is the great great grandson of Charles Darwin, and who has written extensively on the creation-evolution debate, and in 2007 co-founded ScienceDebate.org, which has been trying to get Presidential Figures to discuss scientific issues (something the current occupant would fail dreadfully).

What he created for his first film was more of gritty drama than a seedy sex romp. Then 35-year-old
Helen Mirren, a naturalist at heart, had no problem with nudity, have appeared in the controversial 1979 Penthouse film CALIGULA. She also brought her usual intelligence and lots of character shading to her part of Beaty, the “hussy “of the title.

 

Actor John Shea (WINDY CITY, Fox,1984) had appeared on Broadway in YENTL opposite Tovah Feldshuh. HUSSY was his film debut, portraying Emory, a member of stage crew at the cabaret where Beaty works, and where he falls in love with her.

Basically, Beaty (Mirren) works as a call girl in this seedy club, where she falls in love for Emory (Shea). Complicating matters is that Beaty has a young son as well as a psycho strong arm pimp /ex-lover Alex (Paul Angelis, who in 1968, provided the voices of Ringo and the chief Blue Meanie in United Artists’ animated YELLOW SUBMARINE!), who is fresh out of prison. Meanwhile Emory’s friend Max (Murray Salem , who later wrote the screenplay for KINDERGARTEN COP ,Universal ,1990,died of AIDS complication at only age 47. ) wants Emory to join him on an upcoming drug deal.

Paul Angelis

 

Alex finds out about the deal and muscles his way in, further endangering Emory and Beaty’s future and safety. The result will end up in murder, but of whom?

 previous DVD release 2006

HUSSY had been released on DVD in 2006 in a rather dull flat print. This new Blu Ray from TWILIGHT TIME has given the film a 1080p High Definition clean up, with colors and images being much sharper, showing cinematographer Keith Goddard ‘s work to good advantage (this film seems to have been his biggest credit).

The 1.0 DTS-HD MA (English only) sound is clear, with dialogue and sound clear and free from pops and hiss. The score by George Fenton (DANGEROUS BEAUTY, WB,1998), his second theatrical soundtrack, is a mixture of club music and songs, as well as disco influence, very much a product of it’s time.

There are no subtitle options.

The only extra is the original theatrical trailer.

Limited to ONLY 2,000 copies,
This Blu Ray is recommended to
Those who like
British Noir and
Helen Mirren fans

 

 

 

Kevin G Shinnick

 

Follow and like us here  https://scarletthefilmmagazine.wordpress.com

and https://www.facebook.com/SCARLETreviews/

to keep up on our latest reviews ,contests , and articles

Standard
1980s, Blu Ray, cult, Drama, dvd, genre, gore, Helen Shaver, Horror, https://www.facebook.com/scarletthefilmmagazine/, Jimmy Smits, Martin Sheen, Mystery, New York City, OLIVE FILMS, Orion Pictures, review, Robert Loggia, santeria, SCARLETTHEFILMMAGAZINE.WORDPRESS.COM, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, voodoo, wierd

THE BELIEVERS (Olive Films Blu Ray and DVD releases)

THE BELIEVERS (Orion 1987) (0live Films,2019) R- Color. Region A. 114 minutes. 1:85:1 aspect ratio https://olivefilms.com/product/the-believers/ Available on Blu Ray $29.95 and DVD $24.95

THE BELIEVERS is a fascinating though at times frustrating film. The movie itself deals with religious beliefs and the supernatural beliefs in a modern, more secular world while the production tries to be a Val Lewtonesque film dealing with the subject but with flashes of modern grue effects to keep the punters paying attention.

The film’s pedigree made this a higher than normal profile project for the genre. Directed by John Schlesinger, C.B.E. (Oscar winning director of MIDNIGHT COWBOY, 1969, U.A.) with a screenplay by television writer Mark Frost (who two years later would change that media as co-creator, with David Lynch, with their groundbreaking TWIN PEAKS, Lynch/Frost Productions, 1990-91). The film was based upon the 1982 novel THE RELIGION (Dutton, written by Nicolas Conde. Conde is a pseudonym for the writing team of Robert Rosenblum and Robert Nathan).

 

The critical response, however, was less than kind. Roger Ebert gave the film one and a half stars, writing :

“I’m getting tired of the dingy tenements in Spanish Harlem with the blood-soaked chicken feathers on the floor, and the scenes where the shrink realizes he needs a witch doctor to save his child.”-June 10,1987.

How many films did he see that had such scenes? The only movie that even remotely comes to mind is the overlooked THE POSSESSION OF JOEL DELANEY (Paramount ,1972).

 

THE BELIEVERS also generated controversy by making some of its more sinister events tie in with Santería (a Spanish word meaning “follower of saints”), a religion in NYC that is a mixture of Christianity and Afro-Cuban religious ideals.

When Lisa Jamison (Janet-Laine Green) is electrocuted in a home accident before her horrified son’s eyes, her husband Carl (Martin Sheen, THE DEAD ZONE, Paramount, 1983) moves himself and the young boy Chris (Harley Cross, MRS SOFFEL, MGM,1984) to New York City.

Cal is a police psychologist (an anthropologist in the novel), so he doesn’t have much time to grieve, for soon after he arrives in the city, he is drawn into a savage murder mystery.

Undercover Police Officer Tom Lopez (Jimmy Smits, RUNNING SCARED, MGM,1986) is acting very irrationally after he finds the body of a young boy murdered by a religious cult. The cult knows who the officer is, and he is terrified. It turns out he is also a member of the group.

 

As Jessica Halliday (Helen Shaver, THE COLOR OF MONEY, Touchstone, 1986), the Jamison landlord, becomes more romantically involved, strange items start to appear in the apartment, left by the maid Carmen (Carla Pinza, who also acted as the film’s cultural advisor).

 

About the same time, Carl & Chris come across an animal sacrifice in Central Park. While Carl is distracted, Chris picks up an item left at the scene.

 

Things get more complex when a Haitian named Palo (Malick Bowens, OUT OF AFRICA, Universal,1985) arrives in the city with mysterious powers.

Meanwhile, Tom Lopez is in terrible pain, and goes to a Santeria shop, where he grabs a knife and stabs himself repeatedly in the stomach.

Police Lt McTaggert (the always reliable Robert Loggia, PRIZZI’S HONOR, Fox, 1985) along with Cal attend the autopsy, and are shocked and horrified to find that Tom Lopez’ stomach is full of squirming live snakes.

 

The mystery goes deeper ,with the religion being connected with local politics (out of towners saying, “Yeah well it is New York” ) , and the further they get involved , the more it endangers the lives of Cal ,his son and Jessica (who gets a very disturbing “pimple” ).

New York is a good setting for a mysterious religious cult. One of the most modern cities in the world, it still holds 6000 churches (2,000, with at least 4,000 unofficial places of worship), It is so busy, that a hidden cult can easily thrive in the impersonal activities of Manhattan and its boroughs.

“Wait. This Isn’t THE OMEN?”

 

THE SEVENTH VICTIM (RKO,1943), ROSEMARY’S BABY (Paramount ,1968), the already mentioned THE POSSESSION OF JOEL DELANEY -all make good use of this. THE BELIEVERS also does, but, like THE POSSESSION OF JOEL DELANEY, there is also the clash of cultures added within the mix.

OLIVE FILMS has given the film a sharp new 1080p release. Comparing it to my old MGM DVD, the colors are much sharper and the flatness of the image has been replaced with a much more vibrant one (note ,my review is based upon Olive Films Blu Ray ).

The sound also has been cleaned up as a DTS-HD Master Audio 2.0. The dialogue and sound mix are clean with no noticeable pops or hiss.

There are also optional English Subtitles.

THE BELIEVERS, Martin Sheen, Lee Richardson, Harley Cross, Harris Yulin, 1987, (c) Orion

RECOMMENDED for Horror fans, Martin Sheen fans, fans of voo-doo thrillers, NYC based thrillers.

Kevin G Shinnick

 

Standard
1960s, Academy Award Winner, Blu Ray, british, Drama, film, FILM HISTORY, Genevieve Bujold, Historical Drama, https://www.facebook.com/scarletthefilmmagazine/, Julie Kirgo, Nick Redman, review, Richard Burton, SCARLETTHEFILMMAGAZINE.WORDPRESS.COM, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Twilight Time, Twilight Time Blu Ray, Uncategorized, Universal

ANNE OF THE THOUSAND DAYS (Twilight Time Blu ray)

ANNE OF THE THOUSAND DAYS (Twilight Time Blu Ray) Universal 1969 .Color. 145 minutes. English .2.0             DTS-HD MA sound .English Subtitles option . 1080p Hi Definition 2.35:1 REGION FREE(A,B,C). Special Features: isolated music audio track . Original Theatrical Trailer. Booklet.

https://www.twilighttimemovies.com/anne-of-the-thousand-days-blu-ray/

1969 was a year of change and turmoil. Woodstock . Altamont. Man landed upon the moon. The Stonewall riots. The Charles Manson murders. Nixon says that 25,000 troops will be withdrawn from Vietnam . My Lai massacre. Chappaquiddick . Robert R succumbs to a mysterious disease that will later be identified as HIV/AIDS.

 

Movies too were reflective of the changing chaotic times. Big budget Hollywood movies like HELLO DOLLY(Fox), TRUE GRIT (Paramount) and BATTLE OF BRITAIN(UA) were battling for audiences who were flocking to films like EASY RIDER (Columbia) or MIDNIGHT COWBOY (U.A).

 

Fitting into the former category is the epic ANNE OF THE THOUSAND DAYS . Costume spectacles , particularly those dealing with British royalty, seemed to do well both with audiences ,reviewers ,and awards. Films like BECKET (Paramount ,1964) ,MAN FOR ALL SEASONS (Columbia ,1966), and THE LION IN WINTER (Avco Embassy ,1968) , all based upon successful intelligent successful Broadway plays, all found receptive responses.

paperback movie tie -in 

 

Producer Hall Wallis had been Warner Brothers ‘ studio manager back in the late 1920s and early 1930s, overseeing a string of classics like LITTLE CAESAR (1931) to CASABLANCA (1942). He left W.B. to form his own production company ,and continued his movie Midas Touch with films such as SORRY WRONG NUMBER (Paramount ,1948) ,several Elvis Presley and Martin & Lewis films, and screen adaptations of Tennessee Williams’ works.

 

After producing the film adaptation of BECKET , Wallis  and Burton wanted to work together on another historical drama. Burton convinced Wallis to adapt the 1948 Maxwell Anderson blank verse play ANNE OF THE THOUSAND DAYS”.

 

The play ,which opened December 8,1948, was a huge success, running until October 8,1949 at the Shubert Theatre on Broadway. Part of that was due to the dynamic performances between Rex Harrison as Henry VIII and Joyce Redman as Anne Boleyn (I saw Ms. Redman in the superlative 1987 revival of PYGMALION that starred Peter O’Toole and Amanda Plummer, wherein she portrayed O’Toole’s mother). The other was it was considered daring (Anne admitted to having pre-martial sex!) ,a subject that would make the story impossible to get pass the Production Code of the time.

 

 

Polish Movie Poster ANNE OF THE THOUSAND DAYS

 

The late 1960s saw the relaxing of censorship and more daring subjects being brought to the screen ,and so Wallis hired three writers (Richard Sokolove ,adaptation; Bridget Boland and John Hale ,screenplay) to adapt the play for cinematic purposes. Gone was the blank verse, though the dialogue still had a nice dramatic sense of period . One wonders if Burton discussed playing Henry with Rex Harrison when the two filmed STAIRCASE (Fox) that same year ,where the two played not kings but a pair of bickering old “queens”.

 

The production was sumptuous (design by Maurice Carter ,who had also done the same on BECKET; costumes by Margaret Furse who costumed BECKET and THE LION IN WINTER) , with an opulence that truly captured how one felt the court of Henry VIII would feel.

 

Adding to the sweep and majesty was another magnificent score by George Delerue (he had composed the score to A MAN FOR ALL SEASONS, and would later write for Truffaut’s classic La Nuit Americaine (DAY FOR NIGHT,WB,1973)and win an Oscar for his work on the lovely A LITTLE ROMANCE (Orion/WB,1979).

The film was shot at such locations as Penshurst Place and Hever Castle (the childhood home of Anne Boleyn ) as well as on magnificent sets built at Pinewood and Shepperton Studios.

 

Lensing all of this was Arthur Ibbetson (director of photography on Chaplin’s last feature, A COUNTESS FROM HONG KONG, Universal, 1967) and later the childhood classics THE RAILWAY CHILDREN (Universal,1970) and WILLY WONKA AND THE CHOCOLATE FACTORY(Paramount,1971).

Director Charles Jarrott

 

Director Charles Jarrott had directed many intelligent productions for television with this being his first theatrical production. It is directed tastefully and without flash ,allowing the performances and story carry the movement. He was so successful that he was later tapped to direct MARY QUEEN OF SCOTS (Universal,1971) with the same finesse.

 

Henry VIII (Richard Burton) is unhappy that his wife ,Queen Catherine of Aragon (Irene Papas,THE GUNS OF NAVARONE,Columbia ,1961) has not born him a son to carry on his lineage. His affair with Mary Boleyn             ( Valerie Gearon, in one of her only four film appearances ) is also losing his interest (even though she is pregnant with his child)when he sees Mary’s 18 year old sister Anne (Genevieve Bujold, so marvelous  in KING OF HEARTS /le roi de Coeur,U.A,1966) at a ball.

 

Mary is engaged but Henry has his “fixer” and Lord Chancellor , scheming Cardinal Woolsey (Anthony Quayle, GUNS OF NAVARONE),break up the engagement. Mary’s father ,Thomas Boleyn (Michael Hordern, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM,U.A.,1966) is a political climber, willing to use his daughters to advance his own political career and agrees to end the engagement.

Anne is not as easily won as her sister ,and dares to insult the King, a dangerous thing to be sure, for it could mean her family losing it’s position and wealth , and even imprisonment and death.

 

Henry, however is smitten with this fiery woman, who unlike so many others, does not bend to his will. Thomas Cromwell (Canadian actor John Galicos, probably best known for playing Kor in the STAR TREK episode, “Errand Of Mercy”, Paramount, 1967 and then later as the evil Count Baltar on BATTLESTAR GALACTICA, Universal 1978-9) feels the girl can be a problem but Woolsey feels she is but another bauble for Henry to play with use and discard.

 

Anne is slowly seduced , not so much by Henry as by the power he offers. She refuses Henry’s advances, however, as any child that they have would be illegitimate. Henry says he will divorce Catherine so he can marry Anne, and instructs Woolsey to find a way. Woolsey protests , but the King will not be denied. The Pope denies the annulment ,and Woolsey is removed from office, his London palace given instead to Anne and his title given to Cromwell.

Cromwell comes up with the idea that Henry is the embodiment of the Church in England, and that people cannot pledge loyalty to both The Pope & The Church of Rome at the same time it pledges allegiance to a King who is supposed to be God’s appointed. People are asked to choose, loyalty to Henry and the Crown, or dismissal and worse if they do not recognize his new Church.

 

Finally won over, Anne finally makes love to Henry.She tells Henry that she is pregnant and a quick wedding is arranged.

Catherine ,however ,was very popular with the common people (and the Spanish Ambassadors also sew discontent among the masses ) so that Anne finds herself jeered at and called “the King’s Whore” by the masses . Catherine is banished from court ,spending her remaining years(3 years, 1533-36) at Kimbolton Castle, acknowledged as the Dowager Princess.

Henry is disappointed and enraged that once again he is father to another daughter (Princess Elizabeth. His previous wife, Catherine, bore him Princess Mary).

Once again, Henry ,disappointed by the lack of a male heir, starts looking elsewhere. Anne sees him cast his eye upon young Lady Jane Seymour (Lesley Patterson, who seems to have only appeared in one other film ,THE PRIME OF MISS JEAN BRODIE, Fox,1969),Anne arranges to keep the young woman from court.

Meanwhile ,the loyalty oath to the King continues . Sir Thomas More ( William Squire , Hammer’s A CHALLENGE FOR ROBIN HOOD, 1967) is still opposed to Anne’s claim as legitimate Queen (and thus the rights of Elizabeth to be a successor to the crown). In a rage, she lets Henry know she wants More done away with. A pre-determined trial finds the scholar guilty, and, denied the right to speak at his execution, he is beheaded. Shortly thereafter, like Catherine before her, Anne gives birth to a still born son .

Angrily, Henry turns to Cromwell to find a way for him to divorce Anne and leave him free to have a male heir. Cromwell invents a hideous lie, wherein he accuses Anne of sexual relations with several men, including her own brother. Her music teacher ,Mark Smeaton (Gary Bond, ZULU,Paramount,1964) ,being a commoner, is tortured into a confession by having a Garotte put around his head and tightened.

When they come to arrest her, Anne thinks that they are joking , but the charges are indeed ,deadly serious, amounting to High Treason.

Once again ,however , her intelligence and strong will come to the fore. At the trial, as Henry is hidden away listening, she gets the chance to question the poor tortured Smeaton. He repeats what he has been tortured into admitting, but when he looks upon Anne, he says that he has never been with her in any way but in friendship . The court is in disarray, but Henry enters the room, and tells Smeaton that he is condemned to die either way, so he is free to tell the truth. Smeaton asserts again that she is innocent. The court is in disarray,, as Anne smiles at Henry .Still, as Henry leaves, he says it may still be true.

 

Later,Henry goes to the tower to beg Anne to annul the marriage so he can wed Jane Seymour. Anne once again refuses ,as she says Elizabeth will be one of the great leaders of England, and Anne would rather die rather than deny her daughter her rightful place of history.

Anne is indeed found guilty, and in a tragic scene ,she is led to her death by beheading. Henry ,who was not there, but instead ,out hunting with several groomsmen, hears the cannons in the distance announce her execution. Henry urges his entourage to follow him ,and they set off to Jane Seymour’s home, the hunt once again begun for Henry to get a male heir.

The final shot shows young baby Elizabeth (Amanda Jane Smythe), hearing the cannons roar as well, and wanders sadly ,alone in a garden, as her mothers prophecy about her is repeated

 

“Elizabeth shall be a greater queen than any king of yours. She shall rule a greater England than you could ever have built. My Elizabeth shall be queen, and my blood will have been well spent.”

 

The film was given a wide release by Universal to mixed reviews. All reviewers ,however agreed upon one thing, the magnificence of Bujold’s performance.

It received numerous nominations at the 1970 Academy Awards, winning for Best Costume ; winning Golden Globes for Bujold (Best Motion Picture -Actress-Drama) ,Best Motion Picture – Drama, Best Director-Motion Picture(Jarrot) and Best Screenplay (Boland, Hale,Sokolove)

 

The film did well, though it did not crack the top 20 films for 1970 (it was released in December, 1969, but played throughout the next year ).

Three small  bits of trivia-Burton’s wife at the time, Elizabeth Taylor, made a cameo appearance as a courtesan. However, she is not noticed ,as her character is masked. Miss Taylor, while in costume, wore a gift from Burton, the La Peregrina Pearl ,one of the most valuable pearls in the world.

12 year old Kate Burton also had an uncredited cameo as a serving girl.

The expensive costumes and props were re-used for the 21st(!) CARRY ON film, CARRY ON HENRY (Rank,1971) ,which had an original alternative title of “ANNE OF A THOUSAND LAYS ” ,that sounds more like a porno version than the fun though bawdy film that resulted.

 

 

 

 

 

 

 

 

 

 

 

On video, the film was released on VHS in a very flat print that muted the colors and lost information on the sides of the picture ,as well as a flat mono sound.

 

Universal released it to DVD as a co-bill with MARY QUEEN OF SCOTS (Universal,1971)in a slightly improved version.

 

This TWILIGHT TIME release is the must have print to own. The 1080p Hi Definition 2.35:1 transfer is incredibly rich, with solid reds ,blues ,and skin tones. The film has not looked this good since it was originally unspooled theatrically in 1969.

 

The sound has also been upgraded with a 2.0 DTS-HD Master audio track. The sound is incredibly rich in this dialogue driven film, with the score and sound effects also clean and free of hiss or pops .

Extras are few , though one can enjoy Delerue’s magnificent isolated score on a separate track .

The original Decca Sound Track release

Also included is the original theatrical trailer, narrated by Hal Wallis himself. It has not been cleaned up, so you can get an idea of how rough some of the previous releases have looked.

Finally , an 8-page insert booklet with an essay by Julie Kirgo is included within the case.

Subtitles in English SDH are also available.

One would love to have had an audio commentary, perhaps with Ms. Bujold . That said, the magnificent print that TWILIGHT TIME has released is nothing to dismiss.

The film, like most of TWILIGHT TIME collectible releases , is limited to a press run of 3,000.

The film is a superb example of intelligent film-making ,wherein story and acting ruled over C.G.I. and mind-numbing sameness.

Hopefully, TWILIGHT TIME will release the original 1971 MARY QUEEN OF SCOTS (Universal) and perhaps the unjustly overlooked gem LADY JANE (Paramount ,1986) to be proper companion pieces to ANNE OF THE THOUSAND DAYS and  A MAN FOR ALL SEASONS (released by Twilight Time in 2015).

 

I highly recommend this film to people who enjoy historical dramas, as well as superlative acting and thoughtful storytelling.

 

I do wonder, however, now, in this time of the Me-Too Movement, how many will look favorably at the cavalier attitude of the men within this story, and their views of women .

Seriously, how many men would create an entire religion, just to have sex ???

 

Thoughts to ponder.

HIGHEST RECOMMENDATION.
-Kevin G Shinnick

 

 

 

I just wanted to make note of  very  sad news .

NICK REDMAN passed away January 17,2019 after a valiant two year battle with cancer. Mr. Redman co -founded Twilight Time in 2011. Mr Redman also was a film historian,documentarian, and sound track producer.

Our deepest condolences go out to his friends  and family , including his wife  Julie Kirgo  ,his brother, and his children .

 

*********************************************************

Follow and “like ” Scarlet The Film Magazine on Facebook and here on WordPress.

Feel free to share our reviews.

Standard
1990s, Blu Ray, BOUND, Christopher Meloni, CLASSIC, crime drama, cult, Drama, film, FILM NOIR, genre, Gina Gershon, https://www.facebook.com/scarletthefilmmagazine/, Jennifer Tilly, Joe Pantoliano, John P. Ryan, Mystery, nudity, OLIVE FILMS, review, reviews, SCARLETTHEFILMMAGAZINE.WORDPRESS.COM, sex, The Wachowski Brothers, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized

BOUND (Olive Signature Blu Ray)

 

BOUND (Olive Signature Blu Ray) 1996, Gramercy, color. 108 min Theatrical & 109 min unrated. 1:85:1 aspect ratio. 1080p Resolution. DTS-HD Master Audio 2.0 Stereo .1-disc $39.95 Limited edition 3500 pressing only. Region A. August 28,2018 release.

https://olivefilms.com/product/bound-olive-signature-blu-ray/

 

Back in 1996, a new and exciting film noir thriller opened to nearly universal raves. It reminded one of the excitement from 12 years earlier, when BLOOD SIMPLE (1984, Circle Films) won the praise of critics due to its clever plot and style.

 

Like BLOOD SIMPLE, this film was also the work of a dynamic brother writer/ director duo.

BLOOD SIMPLE was our introduction to the dazzling Coen Brothers Joel & Ethan while BOUND was the brainchild of Andrew (now Lilly) and Laurence (now Lana) Wachowski.

While BOUND was a critical darling, it failed to make back it’s $4,500,000 estimated production budget. However, when it was released to video by Republic video, the film was a major seller and was discovered on cable by an even larger audience.

 

The video remained popular, being released by Republic in 2001 on DVD. This release was the uncut version that had trailers, a behind the scene featurette, a commentary with the brothers, Tilly, Gershon, Pantoliano, film editor Zach Staenberg and tech advisor Susie Bright. However, the print was not the best, with a rather flat look that did not do the movie justice.

 

Paramount bought the Republic library and they licensed OLIVE FILMS to release a DVD and Blu Ray of the title in 2012. Unlike the previous releases, the Olive Film version was released in an anamorphic print that showed off the superb cinematography of Bill Pope (who would dazzle people with his work on the MATRIX trilogy for the Wachowskis for Warner Brothers) along with an improved picture along with the choice of viewing either the theatrical or unrated cuts (really, only 14 seconds difference). The extras were dropped in favor of offering the two versions. There were complaints at the time by some tech fans that the Olive Films release was only Dolby Digital 2.0, while oversea versions had an DTS-HD Master Audio 5.1 track.

 

These people will be disappointed,then, as this release is DTS-HD Master Audio 2.0. However, I found nothing to complain about with the sound, as it was clear and clean, and a wide range (so much so that I had to turn the sound down during one of the more violent sequences). Indeed, I had no complaints with the audio or indeed anything about this presentation.

 

Both versions of the film are presented in a beautiful 1080p transfer in the film’s original 1.85:1 aspect ratio with optional easy to read white English SDH subtitles.

BOUND tells the story of Corky (a superbly confident performance by Gina Gershon), an “out” lesbian (whom we first see IN a closet!)  an ex-con now doing repair work in a mob owned apartment building. When she meets Violet (Jennifer Tilly, an often-underrated actresses), the girlfriend of mobster Caesar (the always marvelous Joe Pantoliano), they begin a torrid affair. Violet wants out of her 5-year-old relationship with Caesar, who launders money for the mob.

Shelly (Barry Kivel) is caught and tortured for stealing money from the mob, and then killed by Johnnie (Christopher Meloni), son of Mob Boss Gino (Richard C Sarafian). Caesar returns to the apartment with a bag full of bloody bills and will now have to literally launder the money!

Violet hatches a plan to steal the $2 million and leave Caesar to face the wrath of the mob, but of course, like all good noir stories, things spin out of control, with a lot of people being brutalized and murdered.

The film was praised (as well as condemned by conservatives) for its lesbian romance, wherein the characters enjoyed their relationship (indeed sex consultant Susie Bright loved the characters. And had high praise for the main sex scene that was shot in a single take).

This plot point made it difficult for studios to back the film (all wanted it if they changed Corky to a man), but the Wachowskis stuck to their guns, being saved when Dino DeLaurentiis backed the project. The 38-day shoot was carefully planned, even though their original cinematographer quit feeling he could not do the film in the time allotted. Bill Pope stepped in and indeed helped plan some of the films visual look.

The film is a superb example of style serving the story. The colors often reminded me of a Dario Argento film, and often the camera often takes a god like view looking down on the action.

 

The original leads were Linda Hamilton as Violet and Tilly as Corky, but when Hamilton had to step out, Tilly switched roles and Gina Gershon was cast as Corky. Gershon then recommended Joe Pantoliano. The rest of the cast is top notch with Christopher Meloni as the not too bright but violent Johnnie stealing every scene he is in. No easy feat, when you consider marvelous performers as John P. Ryan (as mobster Mickey Malnato) are also in the cast.

As noted earlier, the previous OLIVE FILMS release had no extras. This Limited Edition goes out of its way to correct that.

 

Besides the Hi-Def digital restoration the original Republic audio commentary has been restored. One of my favorite things is hearing how the creatives behind a project feel about their finished work and the enthusiasm runs throughout this commentary.

Ported over from the 2014 Arrow U.K. Blu Ray /DVD release by Red Shirt Pictures in conjunction with Arrow :

• “Here’s Johnny!” – with Christopher Meloni– “My character had poor impulse control” is the first thing Meloni says about his character, which must be a major understatement in this new video interview with the actor and how he gives major credit to Joe Pantoliano for his career and how he infused humor into his character.

• “Femme Fatales” – with Gina Gershon and Jennifer Tilly -new interviews with the two leads on how they got cast and their work process. 

• “Modern Noir: The Sights & Sounds of Bound” – with cinematographer Bill Pope, editor Zach Staenberg, and composer Don Davis) the crew speak with great pride of their involvement with the project, and how they became attached to it. . Pope, for example, got hired due to his work on ARMY OF DARKNESS (Universal,1992) and he worked cheap!

New for this release:
• “Part and Parcel” – with titles designer Patti Podesta – a (2017) video interview with the  designer on how she created the noirish titles in the era before CGI took over.



• “The Difference Between You and Me” – with B. Ruby Rich (Prof of Film/Digital Media U, C, Santa Cruz) and Jen Moorman (Prof of Film Studies & Gender Studies, Loyola Marymount U., L.A.) discuss BOUND and its importance in Neo -Noir ,as well as an examination of Film Noir.


• Theatrical Trailer-the original Gramercy Theatrical trailer which makes it look like a RESERVOIR DOGS (Live,1992) rip-off.


• Essay by Guinevere Turner -an interesting 4 page read as to why this film is so important to LGBTQ cinema, and especially for its portrayal of lesbians.

 

 

 

 

This is a MUST HAVE for anyone who loves classic thrillers, well-made cinema done with style and dark humor, superbly acted and directed in an engrossing story.

HIGHEST RECOMMENDATION!

-Kevin G Shinnick

Like & follow us here https://scarletthefilmmagazine.wordpress.com/
and on FACEBOOK https://www.facebook.com/SCARLETreviews/

scarletthefilmmag@yahoo.com

Standard