The Criterion Collection, a continuing series of important classic and contemporary films presents Winchester ’73.
A one-of-a-kind rifle, the Winchester ’73, passes through a diverse group of desperate characters, summarizing the Western genre while also revitalizing it. In his first of eight indelible collaborations with director Anthony Mann, James Stewart is cast against type as Lin McAdam, an upright frontiersman obsessed with tracking down murderer Dutch Henry Brown (Stephen McNally) and always finding himself a step behind the iconic rifle wrongfully stolen from him. Featuring Shelley Winters as a saloon girl looking to settle down, Dan Duryea as a crazed outlaw, John McIntire as a sly gun trader, Rock Hudson as an aggrieved Indian chief, and a young Tony Curtis in an early screen role, Winchester ’73 ushered in a new era for the Western that replaced squeaky clean heroes with flawed, complex protagonists and re-made James Stewart into a mature, complicated screen presence.
- New 4K digital restoration, undertaken by Universal Pictures in partnership with The Film Foundation and in consultation with filmmakers Martin Scorsese and Steven Spielberg, with uncompressed monaural soundtrack on the Blu-ray
- New introduction by Scorsese
- Audio commentary with actor James Stewart and film historian Paul Lindenschmidt
- Lux Radio Theatre adaptation of the film from 1951, featuring actors James Stewart and Stephen McNally
- Theatrical trailer
- Poster Gallery
- PLUS: An essay by film scholar Sarah Hagelin and an except from firearm historian R.L. Wilson’s Winchester: An American Legend
FOR MAURY DANN, EVERY DAY IS “PAYDAY”
In a rare starring role, Rip Torn plays Maury Dann, a hard-living country singer traveling the Deep South honky tonk circuit. Dann’s good ol’ boy smile charms even passing fans, but in private he is a greedy, entitled, and pitiless tyrant ruling from the back seat of a Cadillac sedan. Set over a day and a half, Payday reveals Maury’s unrepentant selfishness and cynicism, bedding young fans, popping pills, and casting off members of his entourage once they have outlasted his needs. Dann’s self-serving and hedonistic ways come to a head in a late night parking lot scuffle, transforming his megalomania into inevitable self-destruction.
Music critic and Payday producer Ralph Gleason declared that the objective of this staggeringly jaundiced portrait was a desire to provide an honest portrayal of life in the country music business. Under the direction of Daryl Duke (The Silent Partner), Payday rejected the polished image of country music, pointed the way toward the approaching outlaw country movement, and placed a spotlight on the magnetic presence of Rip Torn.
Special Edition Contents:
- High Definition Blu-ray (1080p) presentation
- Original mono audio (uncompressed LPCM)
- Optional English subtitles for the deaf and hard of hearing
- Feature-length audio commentary with director Daryl Duke and producer Saul Zaentz
- Risk Management, a new interview with actor Michael C. Gwynne
- Ride-along, a new interview with actor Elayne Heilveil
- Passing Through, a new interview with actor Cliff Emmich
- The Music Man, a new interview with music supervisor Ed Bogas
- Original theatrical trailer
- Reversible sleeve featuring two artwork choices
FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing by musician and scholar Kim Simpson
The Criterion Collection, a continuing series of important classic and contemporary films presents The Limey.
Terence Stamp is Wilson, a English ex-con who arrives in Los Angeles to hunt down the man responsible for his daughter’s “accidental” death, a record producer named Terry Valentine (Peter Fonda). Propelled along an increasingly brutal search for the truth, Wilson’s singleminded desire for revenge splinters into a meditation on cultural dislocation, an elegy on fatherhood, and a radical, fragmentary investigation of memory. Conceiving of the film as “Alain Resnais making Get Carter” and featuring throwback casting with Stamp, Fonda, Barry Newman, and Joe Dallesandro, Steven Soderbergh’s The Limey is a modern tough guy classic and a seminal work of American independent cinema.
- Restored 4K digital transfer, approved by director Steven Soderbergh and cinematographer Edward Lachman, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray
- Audio commentary with Soderbergh and writer Lem Dobbs
- Audio commentary with Terence Stamp, Peter Fonda, Lesley Ann Warren, Barry Newman, Joe Dallesandro, Soderbergh, and Dobbs
- New introduction by Soderbergh
- New conversation with Soderbergh, editor Sarah Flack, cinematographer Edward Lachman, and actors Luis Guzmán and Lesley Ann Warren
- Deleted scene featuring Ann-Margret
- Isolated music score
- Trailers and TV Spots
- PLUS: A new essay by critic Ashley Clark
After packing in 200 or so people for the Saskatoon Fantastic Film Festival’s second annual Saturday Morning All You Can Eat Cereal Cartoon Party, Day 5 was all about director Joe Dante, actress Belinda Balaski, and a trio of features film celebrating their work. Screenings of The ‘Burbs (1989), Gremlins (1984), and The Howling (1981) were each introduced by Dante and followed by a Q&A session. All three films looked great on the big screen and Dante and Balaski were open and affable with the SFFF audience, answering questions and recounting stories. Dante discussed working as a consultant to an upcoming animated Gremlins prequel and briefly acknowledged that his long desired project about Roger Corman, The Man with Kaleidoscope Eyes, was being produced by SpectreVision and should see production in 2020. Balaski recounted a popular story about how the designers of Gremlins’ Gizmo obtained Steven Spielberg’s elusive approval of the creature when she recommended that they take inspiration from the King Charles Cavalier Spaniels Spielberg had recently acquired. When asked which of their films they felt deep-diving fans should explore, Balaski cited Mark L. Lester’s youth culture/crime drama movie Bobbie Jo and the Outlaw (1976) while Dante nodded at his under-seen (and unfortunately prescient) political satire The Second Civil War (1997). The pair were generous with their time, even sitting down on the Broadway Theatre’s stage floor to sign programs and badges for remaining diehards, and they proved to be excellent guests for the SFFF’s landmark 10th year.
The banner event for Day 4 of the Saskatoon Fantastic Film Festival was the Drunken Cinema screening of Wes Craven’s A Nightmare on Elm Street (1984), described by Drunken Cinema‘s attending creator Serena Whitney as “the scary one.” Audience members had rules to follow, glow sticks to shake, and themed cards with personalized drinking rules to enhance their interaction and to get soused in the process. The event seemed an ironic success considering that nearly all the screenings at the SFFF are licensed and the Broadway Theatre’s concession stand was ready to make every screening drunken if patrons were so inclined. Still, the appeal of endorsed booze and rowdiness cannot be underestimated and Saskatoon movie fans can expect to seen more Drunken Cinema events between now and the next SFFF.
The Criterion Collection, a continuing series of important classic and contemporary films presents The Green Fog.
Commissioned by the San Francisco Film Society to close the 60th San Francisco International Film Festival, The Green Fog is the latest from Canadian iconoclast Guy Maddin and is an unusually evocative homage to Alfred Hitchcock’s Vertigo assembled from Bay Area footage taken from a diverse array of sources including studio classics, ’50s noir, experimental films, and ’70s prime-time TV. With the help of co-directors Evan and Galen Johnson, composer Jacob Garchik, and musicians Kronos Quartet, this San Francisco fantasia celebrates the city through a century’s worth of assembled film and television, while also capturing the obsessive pull of Hitchcock’s spellbinding classic. The result is inventive, invigorating, and hilariously quirky, offering a “parallel-universe version” of a canonical cinema masterpiece, an unlikely city symphony, and a refreshing document of film history.