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After the passing of Alfred Hitchcock numerous directors attempted to keep the director’s “vibe” alive by producing homages like Jonathan Demme’s 1979 affair LAST EMBRACE (102 mins., 1979, R; Cinematographe). This adaptation of Murray Teigh Bloom’s novel “The 13th Man” offers a laundry list of attractive ingredients – from a terrific lead performance by Roy Scheider to its outstanding supporting cast and Miklos Rozsa’s romantic, old-fashioned score – yet the movie itself doesn’t work, an unsuccessful attempt at melding the suspense of Hitch with the sensibilities of the late ‘70s.
 Scheider does his best with a difficult – and not always sympathetic – role of a secret agent whose wife was killed in Mexico during a failed operation he was running. After having recuperated – to a degree – Scheider picks up his next assignment and promptly ends up doubting his sanity when he receives threats written in Hebrew. A Princeton grad student (Janet Margolin) becomes Scheider’s surprise roommate and soon offers him assistance, their trail of ancient Jewish texts and beliefs leading them ultimately to a Niagara Falls climax and effective location shooting from Demme and his long-time cinematographer Tak Fujimoto.
Despite so many elements going for it – a supporting cast which includes John Glover and Christopher Walken among them – “Last Embrace” fizzles out in its attempt to present the audience with a modern day Hitchcockian thriller. Scheider’s determined performance keeps one watching but numerous sequences are awkwardly staged and the ending a let down, with David Shaber’s script failing to get the viewer onboard Scheider’s central plight and buy into its premise. More over, the melding of Hitchcockian tenants with Rozsa’s score and a plot more “R-rated” than the type of material it’s trying to evoke results in a jarring clash of styles that fail to gel. Another issue is the female lead: Margolin is serviceable in covering the “girl next door” component of her role but is never convincing with its femme fatale angle, and I confess I laughed outloud at the end of the bedroom murder scene, where the drama fails to match the boldness of Rozsa’s score.
“Last Embrace” still has a certain quality about it that makes it compelling, mostly thanks to Scheider, who atypically emotes all over the place as the guilt-ridden secret agent, and Rozsa’s music. This is in the same vein as “Eye of the Needle” for a late career “throwback” score, and it clearly outclasses the movie it accompanies. Demme and Fujimoto’s location lensing is notable also, at least, providing another component that provides buffs with viewing interest.
Cinematographe’s 4K UHD is yet another bravura effort from the label, sporting a fresh scan of the 35mm OCN with HDR10 enhancement that increases the color and fine detail (1.85) over the prior MGM HD master Kino Lorber released on Blu-Ray a decade ago. Watching the movie’s New York locations is like taking a trip back in time, and on that end, the picture gets by, while the mono sound is decently mixed, boasting its fair share of ADR’d dialogue (note for BD owners that the accompanying Blu-Ray is based off the same 4K restoration).
An archival interview with producer Michael Taylor is interesting and carried over from the previous BD, while new extras include a commentary by Howard S. Berger and Steve Michell; a video essay by Samm Deighan; and booklet notes with essays from Jim Hemphill, Jeva Lange, and the label’s Justin LaLiberty. It’s all housed in a hardbound case limited to 6,000 copies and available — asas all are the OCN reviews below in this column — through Vinegar Syndrome’s website.
 Warner Archive New Releases
What looked on paper like it was going to be a prestige release for Warner Bros. and producer Clint Eastwood, THE STARS FELL ON HENRIETTA (110 mins., 1995, PG) was basically banished to a token release in select markets in September 1995 before debuting on home video where it disappeared with barely a trace. Warner Archive has remastered this little-seen picture for Blu-Ray this month and it’s a sad case of a project that looked like it couldn’t miss on paper simply not working on-screen.
This despite a great cast, led by Robert Duvall as a down-on-his-luck oil man who, in the midst of the Great Depression, tries his luck one more time at unearthing a fortune while traveling to California. Meeting a struggling farmer (Aidan Quinn), his wife (Francis Fisher) and family, Duvall’s enigmatic Mr. Cox leads one more attempt at mining oil in spite of reluctance both from Quinn and another oil man (Brian Dennehy) who knows – and distrusts – Cox and his methods (including his oil-sniffing cat!) from the good o’l days.
Eastwood produced “Henrietta” and most of his key production team from the period – production designer Henry Bumstead, cinematographer Bruce Surtees and editor Joel Cox among them – were brought onboard this not-inexpensive $13 million character drama. For whatever reason – perhaps the relative inexperience of actor James Keach, who directed – the movie just doesn’t gel. There’s a weird disconnect between scenes in the movie, no comfortable editorial rhythm ever established, while odd visual changes occur between shots that give off a haphazard look to the picture. The story, scripted by Philip Railsback, also never seems like it’s ever on the right track in terms of finding a dramatic focus – it all just sort of lies there, unable to generate much emotion, and the ending just sort of fizzles out.
It’s a disappointment that extends to Warner Archive’s Blu-Ray, which features a highly uneven transfer (2.35) with exterior shots that have been heavily processed with noise reduction. Interior scenes, on the other hand, are properly detailed – so whether or not this is an issue with the source material, I can’t say for sure, but it’s certainly odd. (It’s possible, sensing the film was a bust, Warner threw in the towel on the film in post-production, as evidenced by a poorly edited “storm sequence” early in the picture that’s treated like an afterthought).
Jazz musician David Benoit wrote a lovely, low-key score for the film but it, too, fares poorly in a 5.1 DTS MA mix where the music is inexplicably mixed at a very low volume. I haven’t seen the film before so I can’t compare it to earlier releases, but my hunch is something is off with this mix as there’s very little stereo activity and much of the sound is directed into the center, including the score. The trailer, which pushes hard on the “feels” and uses James Newton Howard’s score from “Wyatt Earp,” is included.
 Though Dino DeLaurentiis was often associated with big, sprawling genre movies like “King Kong” and “Conan,” he also produced a series of effective dramatic pictures on a much smaller scale. Among them were no less than four adaptations of books by New York City journalist/writer Peter Maas, including the inspiration for the Al Pacino classic “Serpico,” “The Valachi Papers” (which became a decent Charles Bronson picture), the highly underrated “King of the Gypsies,” and the superbly performed 1985 drama MARIE (112 mins., PG-13).
A biopic of Marie Ragghianti, “Marie” recounts her journey from abused housewife to a hard-working single mom. After going back to get her degree in the early ‘70s, Marie becomes the head of the Tennessee parole board, becoming a whistleblower for state corruption – but not before encountering resistance threatening both her and her family.
Roger Donaldson had just directed “The Bounty” for DeLaurentiis and he was a good choice for this underappreciated picture that’s suspenseful and cinematic in its delivery. Donaldson and ace cinematographer Chris Menges – coming off his Oscar for “The Killing Fields” – utilize widescreen to great effect here, capturing time and place while the cast is exceptional: Spacek is terrific in a role she’s ideally suited for, making you immediately sympathetic to her relationship with her kids and later crusade for justice. She works well off a supporting cast including Jeff Daniels (the liasion for crooked governor Ray Blanton), Keith Szarabajaka, Morgan Freeman and Fred (Dalton) Thomspon, who essays himself in the first of many character roles that would follow (before he, himself, would return to Tennessee for a successful senate bid).
John Briley’s script packs an awful lot into the movie’s two-hour running time and Francis Lai’s solid score make for a compelling film that deserved better than its poor box-office performance, and hopefully viewers can take a fresh look at “Marie” thanks to Warner Archive’s Blu-Ray. This new 1080p (2.39) remaster captures the entire JDC Scope frame and enhances the movie’s visual presentation, with the trailer included on the supplemental side. Recommended!
 Shot outdoors in Idaho by director King Vidor, the MGM adventure favorite NORTHWEST PASSAGE (128 mins., 1940) makes an overdue debut on Blu-Ray this month. This “Book 1” adaptation of Kenneth Roberts’ novel (they never made Book 2) offers Spencer Tracy as Major Robert Rogers, who leads his Rangers on exploratory adventures from New Hampshire west during the French and Indian War.
Though still sufficiently “Hollywoodized” (as expected for its era), “Northwest Passage” is tight and well-executed technically while Tracy and co-star Robert Young develop solid chemistry – yet its the location shooting off the backlot that provides the film with a level of authenticity seldom seen with studio films of its era. Warner Archive’s Blu-Ray (1.37, mono) captures it with a lovely new transfer and the vintage featurette “Northward, Ho!” on the supplemental side.
Finally, Elvis fans can celebrate another Blu-Ray release of one of his many ‘50s/‘60s musicals with Warner Archive’s remaster of HARUM SCARUM (95 mins., 1965). This wan MGM concoction finds Elvis as a superstar singer who’s kidnapped by Middle Eastern terrorists and sent to an Arabian realm that’s been secluded from the world for thousands of years. It’s as silly as it sounds with Mary Ann Mobley and Michael Ansara co-starring and Presley performing bubblegum tunes like “Harum Holiday.” The Archive’s Blu-Ray looks just fine with is 1080p transfer though the film wasn’t shot in scope (1.85, mono). Two Tom & Jerry Cartoons and the trailer cap the disc.
 New From OCN
A Film Movement Classics Blu-Ray double feature, MARCEL PAGNOL: 2 FILMS BY YVES ROBERT couples the director’s celebrated MY FATHER’S GLORY with its simultaneously-shot sequel MY MOTHER’S CASTLE (208 mins., G/PG, 1990). These two beautiful pictures were adapted from the books by Pagnol, a pair of autobiographical tomes charting his childhood in Provence at the turn of the 20th century, each capturing the love of country life and embracing life’s positive elements accordingly. Restored in 4K by Gaumont, Film Movement’s Blu-Ray features both movies in outstanding 1080p (1.85) transfers with 5.1/2.0 French audio and English subtitles; a video essay by Ludoic Cortade; a featurette on the film’s production; and a 16-page booklet with notes from Kat Ellinger and others.
Canadian Internatuional Pictures’ latest is a dramatic effort from the early ‘60s: Larry Kent’s THE BITTER ASH (80 mins.), a taut B&W piece about a man (Alan Scarfe) whose life spirals out of control after he hits rock bottom with his job and his girlfriend (possibly) newly pregnant. Into his life comes a similarly troubled waitress (Lynn Stewart) who proves to be an unfortunate match in this offbeat and memorable piece that influenced later Canadian filmmakers David Cronenberg and Atom Egoyan among others. Newly scanned in 4K from the original 16mm A/B negatives (1.37) by CIP, this little-seen movie – previously subject to cuts seeing as it was ahead of its time – has been remastered for Blu-Ray boasting the label’s customary outstanding supplements. These include a new commentary by historian Stephen Broomer, an archival commentary by Kent, new interviews with cast/crew, a 2023 post-screening Q&A, Kent’s first movie “Hastings Street” and more.
 Darkstar Pictures brings the serial killer thriller NIGHT CALLER (84 mins., 2021) to Blu-Ray later this month. Susan Priver and Bai Ling appear in this story of a telephone psychic attempting to stave off a killer’s latest moves. It’s an interesting premise only halfheartedly executed in Chad Ferrin’s movie; Darkstar’s Blu-Ray includes a 1080p (2.35) transfer, 5.1 sound, a Making Of, deleted/alternate scenes; commentary and more…Aaron Schimberg’s GO DOWN DEATH (88 mins., 2014) is a strange surrealist piece, a number of episodic vignettes taking place in an abandoned Brooklyn factory and shot in 16mm B&W. Factory 25’s Blu-Ray (1.78) includes deleted scenes, a behind-the-scenes segment and a 24-page booklet with writing by Schimberg.
Vincent Lindon and Chiara Mastroiani starred in French director Claire Denis’ bleak 2013 film BASTARDS (100 mins., 2013), an unsettling look at sex rings and general corruption amongst the upper crust. A new commentary by Samm Deighan, a video essay from Alexandra Heller-Nicolas, an archival casting featurette with Denis’ commentary and a booklet featuring writing by Madelyn Sutton are included in IFC’s Blu-Ray (1.85, 5.1 DTS MA)…A drag queen searching for revenge finds retribution in a more personal way in FEMME (98 mins., 2022), a UK import from directors Sam H. Freeman and Ng Choon Ping. This character piece hits Blu-Ray with a 1080p (2.39) widescreen transfer, 5.1 DTS MA sound, the NYC premiere Q&A, the trailer, a featurette, and booklet with Alexandra Heller-Nicolas’ writing.
 Dekanalog brings the striking Nigerian import MAMI WATA (107 mins., 2023) to Blu-Ray this month. This tale of an African village attempting to navigate its identity and culture through modern times features striking, rich B&W cinematography preserved here in a spellbinding Blu-Ray (1.78) with 5.1 DTS MA sound, featurettes, deleted scenes, and commentary from director C.J. “Fiery” Obasi…Billed as the “first ever Zoetrope Blu-Ray disc,” NUTS! (78 mins., 2016) finds director Penny Lane documenting the true story of John Romulus Brinkley, a Kansas doctor who thought he could cure impotence by transporting goat testicles into men. As offbeat as its subject matter, Cartuna’s Blu-Ray includes a 1.78 transfer and a whole archive on the Brinkley family.
Rob McCallum travels cross-country in an effort to purchase the entire run of original Nintendo Entertainment System games – and do so in 30 days – in the fun documentary NINTENDO QUEST (95 mins., 2015), on Blu-Ray from ETR Media. Available later this month, the disc also includes 9 episodes from the follow-up series “Nintendo Quest: Power Tour” along with commentary, extended/deleted scenes and more (1.85, 5.1 Dolby Digital)…Finally, SHE’S ALLERGIC TO CATS (82 mins., 2016) strays on the goofy side as it follows a dog groomer producing an all-cat version of “Carrie” when he meets the girl of his dreams. Michael Reich’s offbeat (naturally) film includes copious interviews, short films, behind the scenes materials, deleted scenes and much more in Yellow Veil Pictures’ Blu-Ray (1.85, 2.0 DTS MA).
NEXT TIME: The latest releases! Until then, don’t forget to drop in on the official Aisle Seat Message Boards and direct any emails to our email address. Cheers!
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