Mining his own filmmaking experience, Cox also talks of scenes he might’ve snipped or of the interior images he finds to be underlit, despite his obvious reverence for the film. Does Parker, in fact, harbor some grand scheme for liberation? The Sicilian Clan is one of the first modern-era mafia movies, even if its insights into the dynamics of La Cosa Nostra are only subtly telegraphed by the highhanded way Vittorio Manalese treats daughter-in-law Jeanne (Irina Demick). Yet Ringo’s ironic decency isn’t without sentimentality. All this chauvinism gets balanced by the inclusion of a third commentary featuring critic Kat Ellinger, whose enthusiasm for the film (and its restoration) is infectious from the start. This disc sheds light on an underrated, mournful western that anticipated the genre’s revisionism roughly a decade later. Side by side, it's difficult to separate the thematic similarities between the two stories about a patriarch who has committed his family to a life of crime. The drifter rides into the mining town of Lago and is harassed by a trio of toughs who’re used to having the run of things. Though the individual surface textures of the films included in this box set may vary from, to take just one example, the harsh alienating cityscapes of his early films to some of the more bucolically inclined latter-day works, there are a few thematic constants that run like a scarlet thread throughout Tsukamoto’s filmography. Animated Image Montage: (HD 5:33) This is a collection of behind the scenes, promotional, and publicity pictures. The drifter’s callousness is never soft-soaped, as this character suggests the apotheosis of the resentment that drives various Eastwood heroes who are constantly tasked with saving people who can’t stick up for themselves and—worse—have no gratitude for the services provided. Its only egregious flaw was the occasionally soft edge, which isn’t evident on either the Blu-ray or 4K Ultra HD disc included with this new release. Cast: Delphine Seyrig, Danielle Ouimet, John Karlen, Andrea Rau Director: Harry Kümel Screenwriter: Pierre Drouot, Jean Ferry, Harry Kümel Distributor: Blue Underground Running Time: 100 min Rating: NR Year: 1971 Release Date: October 27, 2020 Buy: Video. Most of the extras here have been carried over from Blue Underground’s prior Blu-ray and DVD editions, including the self-serious and esoteric commentary featuring director Harry Kümel and a second with actor John Karlen and journalist David Del Valle that verges on proving Kümel’s apparent reservations about heterosexual masculinity entirely justified. Along the way, Harlan takes advantage of every opportunity to display how inflexible and downright brutal he can be, aided in no small measure by a trio of cronies armed with newfangled weaponry like a long-range rifle and an automatic Mauser pistol. Kino Lorber outfits High Plains Drifter, one of Clint Eastwood’s bleakest westerns, with a sturdy transfer that honors its savage beauty. Arrow Video’s impeccable box set allows you to follow the development of one of contemporary Japanese cinema’s true visionaries. King’s film is a tall tale—or, more accurately, a resonant celebrity myth constructed by a person who no longer wishes to play it. Tetsuo: The Iron Man suggests the love child of a David Lynch and David Cronenberg film, combined with a little of Jan Švankmajer’s scrapheap stop-motion animation. Fred Cavaye’s brief introduction to the international version mostly articulates his awe of Verneuil working with the three leads. He replies that he’s had plenty of time to ponder and claims to have eventually reached a sense of acceptance. With the proceeds of each successful heist, Vittorio buys more and more acreage of his homeland in Sicily. Delon arrives ahead of schedule and sees one of Gabin's sons, sent to kill Delon, arrested before he can carry out the job. On the face of it, bringing together John Sturges, who had helmed top-shelf westerns like Bad Day at Black Rock and The Magnificent Seven, and iconic star Clint Eastwood, fresh off his directorial debut Play Misty for Me, would seem like a match made in genre heaven. It’s hard to imagine any star now who’d be as willing to confront the disturbing implications of their “image” as strenuously as Eastwood does in High Plains Drifter, which elaborates on the eroticized heartlessness that he previously mined in Don Siegel’s The Beguiled. To most people in Paris, he's a man who built his fortune designing table games and pinball machines. Yet the bitterness lurking between the cracks of Shane and High Noon has been profoundly amplified here, as the townspeople are venal, greedy cowards who’re regarded by the drifter with a contempt that verges on the biblical. That Wayne passes off his dialogue-heavy role—he gets two lengthy monologues, including one with Carey, his idol—with such melancholic nuance is particularly impressive after the actor’s breakthrough turn in Stagecoach just two years earlier, a performance that pointed to a more heroic, physical star persona.
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