A couple weeks ago, I shared some of my picks for the best Blu-ray reissues of 2020. This has been a particularly bountiful year for restorations and long-awaited HD reissues, so in case you are stuck for last-minute gift ideas, here are a few more for consideration. And a friendly reminder: whenever you make an Amazon purchase via a click-through on this site you’ll help support your favorite starving bloggers here at Digby’s Hullabaloo. Happy holidays!
Five Graves to Cairo (Kino Classics) – Billy Wilder’s 1943 war drama tends to get short shrift from film scholars (understandable if held up next to Double Indemnity, Ace in the Hole, Sunset Boulevard, Some Like it Hot, The Apartment and other heralded entries in the director’s impressive canon), but it’s solid, slam-bang “popcorn” fare for movie night.
Five Graves to Cairo was the second Hollywood feature from the Austrian-born film maker. Adapted by Wilder and Charles Brackett from the Lajos Biro play “Hotel Imperial”, it is essentially a chamber piece set in a remote hotel in the North African desert. Like Casablanca (released a year earlier), it is a contemporaneously produced WW2 adventure brimming with intrigue, selfless heroics and of course-evil Nazis.
In this case the chief villain is a real-life WW2 luminary, Field Marshal Erwin Rommel, played with larger-than-life aplomb by veteran scene-stealer Erich von Stroheim (who would give his most memorable performance 7 years later in Wilder’s Sunset Boulevard). Leading man Franchot Tone portrays a wounded British tank crewman who stumbles into the hotel half-alive a few days before Rommel and his entourage arrive for a rest from the desert campaign. Anne Baxter and Akim Tamiroff round off the excellent principal cast.
Kino’s Blu-ray features a 4K remaster that highlights John F. Seitz’s cinematography and an enlightening commentary track by film historian Joseph McBride.
Funeral in Berlin (Paramount) – While I enjoy the entire series, this is my favorite entry in the film trilogy (preceded by The Ipcress File and followed by The Billion Dollar Brain) that starred Michael Caine as British spy “Harry Palmer” (based on a nameless protagonist created by prolific spy novelist and non-fiction writer Len Deighton).
Caine’s Palmer is a buttoned-down antithesis of James Bond. Oh, he has the trade craft and the cold efficiency, but no flashy clothes, cars or gadgets, no adventures in exotic locales. However, he is not buttoned-down in his attitude. He’s cheeky, cynical, and anti-authoritarian to a fault (e.g. 007 remains attuned that he ultimately serves at Her Majesty’s pleasure, whereas Harry may be more inclined to scoff at aristocracy).
In this installment (directed by Guy Hamilton and adapted from Deighton’s eponymous novel by Evan Jones), Palmer is ostensibly sent to Berlin to bring a Communist defector in from the cold but becomes embroiled in a byzantine web of international intrigue and inter-agency duplicity. You need to pay close attention, but that’s what makes it fun and keeps you guessing until the end. Similar (but superior) to the Cold War thriller The Defector, which came out the same year and featured Montgomery Clift (in his final performance).
Paramount’s Blu-ray touts a “1080p high-definition” transfer, which leaves room for interpretation as to whether it has been restored. I can only compare it to the PAL-DVD edition I own-to which it displays a marked upgrade in image and sound. No extras, but that appears to be par for the course with Paramount. Still, it’s nice to have it on Blu-ray!
The Godfather, Coda: The Death of Michael Corleone (Paramount) – Just when I thought I was out…Francis Ford Coppola pulls me back in for a third (fourth?) dip into my wallet for the “definitive” cut of the film formerly known as The Godfather Part III.
In a short video intro on the Blu-ray, Coppola justifies his subtle re-cut thusly: “You’ll see a film that has a different beginning, has a different ending. Many scenes throughout have been re-positioned; and the picture has been given I think a new life…which does, in fact, act as illumination of what [The Godfather and The Godfather, Part II] meant.”
So, has all been illuminated? In the interest of fairness (and being that I was aware of the release date for the Blu-ray) I re-watched The Godfather and The Godfather, Part II recently (probably the 50th time) so that all the motifs would be fresh in my mind before diving into this slightly reshuffled “new” coda. I admit that I have more often than not binge-watched “I” and “II” without feeling compelled to revisit “III” (no thanks I’m full).
The result of watching the new cut with somewhat “fresh” eyes is that it is not as “bad” as I remember (“bad” intended as relative in the context that “I” and “II” constitute the greatest gangster saga in film history, making it a hard act to “coda”-even for its creator). On the other hand, it still doesn’t elevate the film to the masterpiece status of its prequels.
First let’s dispense with the snarky quips about Sofia Coppola’s casting as Michael Corleone’s daughter Mary that have tainted the film for years. If anything, her “non-actor” reading of the character renders her proto-mumblecore performance as naturalistic; after all, could she help being a sullen 18 year-old daughter of a rich and famous power player who was playing a sullen 18 year-old daughter of a rich and famous power player?
Frankly, what I find most distracting performance-wise in III is her Aunt Talia Shire’s tendency to overact…with her hands. For whatever reason, Shire (reprising her role as Michael’s sister Connie) made an odd acting choice to gesticulate wildly in nearly every scene (I know Italians have a rep for “talking with their hands” …but Shire overdoes it).
Nits aside, the refurbished cut holds up well. Of the changes he made, Coppola’s repositioning of one particular scene to the beginning was the wisest, because it works as a visual and thematic callback to the opening moments of the original Godfather. All in all, it is as satisfying a “coda” for the saga one could expect within a relatively scant 2½ hour running time (considering I and II total 6½ hours of narrative to wrap up).
The transfer on Paramount’s Blu-ray is stunning in image and sound quality (both elements are newly restored). There are no extras (aside from Coppola’s 2 minute long introductory spiel) but I’m sure there will be a super-deluxe bells and whistles edition at some point. If you’re a fan of the trilogy (who isn’t?) I think you’ll be pleased.
The Hit (Criterion Collection) – Directed by Stephen Frears and written by Peter Prince, this 1984 sleeper marked a comeback for Terence Stamp, who stars as Willie Parker, a London hood who has “grassed” on his mob cohorts in exchange for immunity. As he is led out of the courtroom following his damning testimony, he is treated to a gruff and ominous a cappella rendition of “We’ll Meet Again”.
Willie relocates to Spain, where the other shoe drops “one sunny day”. Willie is abducted and delivered to a veteran hit man (John Hurt) and his apprentice (Tim Roth). Willie accepts his situation with a Zen-like calm. As they motor through the scenic Spanish countryside toward France (where Willie’s ex-employer awaits him for what is certain to be a less-than-sunny “reunion”) mind games ensue, spinning the narrative into unexpected avenues-especially once a second hostage (Laura del Sol) enters the equation.
Stamp is excellent, but Hurt’s performance is sheer perfection; I love the way he portrays his character’s icy detachment slowly unraveling into blackly comic exasperation. Great score by flamenco guitarist Paco de Lucia, and Eric Clapton performs the opening theme.
Criterion’s Blu-ray delivers a noticeable upgrade in image quality (the transfer was approved by DP Mike Molloy). Audio commentary from Criterion’s 2009 DVD has been ported over, featuring director Stephen Frears, actors Hurt and Roth, screenwriter Peter Prince, and editor Mick Audsley. Extras include an essay by film critic Graham Fuller.
An Unmarried Woman (Criterion Collection) – I was overjoyed to learn this 1978 career high from the late writer-director Paul Mazursky (Bob & Carol & Ted & Alice, Blume in Love, Harry and Tonto, Tempest, Down and Out in Beverly Hills, Moscow on the Hudson) was getting the Criterion treatment, because it is ripe for rediscovery.
Jill Clayburgh delivers a tour-de-force performance as an upscale Manhattanite who works at an art gallery. One day she meets her Wall Street broker husband of 16 years (Michael Murphy) for lunch, after which he suddenly and unexpectedly creates a public scene, blubbering and blurting out he has fallen in love with another woman.
Clayburgh’s reaction, as she reels first from shock, then goes from pain to anger to physical revulsion (within about 30 seconds) remains one of the best moments of acting I’ve ever seen. That’s just the warm-up for Clayburgh’s journey of emotional recovery and independence, which in retrospect is deeply rooted in the “self-actualization” movement of the 1970s.
Clayburgh was nominated for an Oscar, which she would have clinched in a less competitive year (she was up against Geraldine Page, Ingrid Bergman, Ellen Burstyn and Jane Fonda). Brilliantly written, directed, and acted. Outstanding support from Alan Bates, Cliff Gorman, Patricia Quinn, Kelly Bishop, Linda Miller and a scene-stealing 16 year-old Lisa Lucas.
Criterion’s Blu-ray has a restored 4K transfer. Extras include insightful and enlightening 2005 audio commentary by Mazursky and Clayburgh (although it makes you sad that they are no longer with us…both come across as such warm and generous creative spirits).
In one interesting anecdote, Mazursky talks about initially offering Jane Fonda the part. Fonda read the script, then turned it down with a comment to the effect that she was only interested in films that make a political statement (she had also already committed to working on Coming Home). Sometime after the film came out, Fonda reached out to him and said she was sorry she had turned down the role, because after seeing it she realized An Unmarried Woman is very political, especially in light of its empowering feminist message!
There are also new interviews with Michael Murphy and Lisa Lucas, as well as a new interview with author Sam Wasson on Mazursky’s work. Excellent package…A+!
Stocking stuffers – A few more reissues I scooped up in 2020 and would recommend:
The Passenger (Sony), Ghost Dog: Way of the Samurai (Criterion Collection), Brick (Kino Classics) The Two Jakes (Paramount), An Inspector Calls (Kino Classics), Pool of London (Kino Classics), The Comfort of Strangers (Criterion Collection), Me and You and Everyone We Know (Criterion Collection) The Pet Shop Boys: It Couldn’t Happen Here (BFI; Region ‘B’), Bela Lugosi: Three Edgar Allan Poe Adaptations (Eureka box set; Region ‘B’)
Previous posts with related themes:
Pointing a way to the moon: Bruce Lee hits Criterion
Summertime Blus pt. 1: Best BDs of 2020 (so far)
Summertime Blus pt. 2: Best BDs of 2020 (so far)
Stuck for something to watch tonight? Check out the archives at Den of Cinema