Some movies hit you in the sweet spot so unexpectedly, that you can’t help but laugh at the notion that you’ve lived without this movie for all of your life. Fear is the Key is a prime example of this sentiment. A narrative with so many built-in setups/payoffs and genuinely exciting, unexpected turns that throw an audience off in the best way possible. Fear is the Key creates such a supremely satisfying movie that one really wonders why it isn’t talked about in the same breath as thrillers such as The Marathon Man or Three Days of the Condor.
Part of the issue is not giving away how the plot is constructed or the surprises within the narrative that give Fear is the Key its weight and enjoyment. However, it can be said that one should go along with narrative detours as they all have meaning once the added layers of narrative are revealed. This much can be said that the random incidents that thrust us into the film; a stranger (Barry Newman) causing a ruckus in a store in a dry county on a Sunday; his taking a hostage (Suzy Kendall) once he’s before a judge; the chase that ensues. All are no coincidences.
One can be assured that the action is excellent. Director Michael Tuchner working with screenwriter Robert Carrington, cinematographer Alex Thomson, and the dedicated stunt team (who’ve produced car chases from Bullitt and The French Connection) have created some of the best crack jack action set pieces this side of the 1970s. The 20-minute car chase at the beginning of the film is truly one of the best of the era. Yes, one of the best of the era.
Though unlike some of the films of the era the film is not more than an epic car chase. Fear is the Key has a narrative that works like clockwork, much like the very best from novelist Alistair MacLean. For those who love the novelist film adaptations are in for a treat.
The Transfer
Arrow Video has treated Fear is the Key with the care and respect they have with any of their biggest titles. The image is clean and free of any dirt, hair, specks, or scratches throughout its runtime. They’ve wisely kept the film’s grain structure intact which leads to a truer representation of how the film was shot and produced. Fans of the film will be excited to revisit the film.
The Extras
They include the following;
New audio commentary by filmmaker and critic Howard S. Berger
A Different Kind of Spy Game
Fear in the Key of Budd
Bayou to Bray
Producing the Action
Theatrical trailer
The all-new audio commentary by filmmaker and critic Howard S. Berger opens with a discussion of Alistair MacLean the novelist whose work this film is based on and why they did not put his name above the title. Some of the details include the place in Popular Culture where the major novelist were and their importance to film; a discussion about the MacLean “formula”; discussion of star’s Barry Newman personal and career history – including a discussion of the similarities to his role in Vanishing Point; the cinematography of Alex Thompson – and his use of the widescreen frame as it relates to the story and themes; a discussion about stunt coordinator Carey Loftin – the other films he was involved with, and how he taught Newman to drive for Vanishing Point; a discussion of director Michael Tuchner work here and throughout his career; a great conversation about the grief in this film – and how it’s a rare occurrence in films and the examples of this; a larger discussion throughout about the way the film is built for multiple viewings with visual cues of things to come; a discussion about the personal and professional career of Alistair MacLean; a larger conversion about the various co-stars in the film including Dolph Sweet, John Vernon, Ben Kingsley, et. al.; and much more.
A Different Kind of Spy Game (23:33) – is an all-new visual essay by film critic and author Scout Tafoya looking at not just Fear is the Key but Alistair MacLean’s work as a novelist and the adaptation of his work and where this film ranks amongst those films. Some of the details include a personal history of MacLean before he began writing novels, MacLean’s reputation as a counterpoint to James Bond; why the writer’s work were such hot properties during the 60s and then weren’t or had difficulty in the 70s; and much more. The essay is wonderfully produced with scenes from various film adaptations and more.
Fear in the Key of Budd (16:34) – an all-new appreciation/interview of composer Roy Budd and his score for Fear Is the Key by film and music historian Neil Brand. Brand begins with his personal familiarity with the film itself. The historian then dives into Budd’s exemplary work in the film, and how it helps the film. Some of the other details include a personal account of Budd’s career as a composer, his technical style, his emotional style, the work done by Budd within Fear is the Key, the various cult classics and classics he scored (including Get Carter), and much more. Another polished interview with visuals beyond talking head interview.
Producing the Action (29:55) – an archive interview with associate producer Gavrik Losey looks at how he got involved with the project, the issues, and how he pulled off some of the stunts in the film. Losey is great at breaking down the issues that were contained within the narrative; how they resolved those issues within preproduction; discussion in detail about the various big set pieces; some truly wild stories about the production dealing with Louisiana politics; a terrifying discussion about a local sheriff; how they accomplished those set pieces – including some great stories about trying to find oil rigs, fleets of cars for destruction/stunts, a trip to the Daytona 500, and more; and much more. Losey gives a truly wonderful insight into the troubles that a production can run into.
Bayou to Bray (39:30) – an archive featurette in which crew members look back on the making of the Fear is the Key. The featurette does a great job of discussing the difficulties the UK-based production had coming to America (specifically Louisiana) and making the actual film with all the bumps and issues that could possibly come up including issues with cameras and lenses and the stunt work. There are some great anecdotes about the production both funny and scary. Featuring interviews with production accountant Paul Tucker; focus puller John Golding; sound mixer Anthony Jackson; 3rd assistant director Peter Cotton; actor Peter Marinker; props Terry Wells; and others.
Theatrical trailer (2:16)
The Final Thought
Arrow continues its stacked releases of cult classics with Fear is the Key. Highest recommendations!!!
Barry Newman is back behind the wheel in Fear is the Key. Arrow Video’s Blu-ray edition of this adaptation of Alistair MacLean’s novel is filled with special features.
The Film
Some movies hit you in the sweet spot so unexpectedly, that you can’t help but laugh at the notion that you’ve lived without this movie for all of your life. Fear is the Key is a prime example of this sentiment. A narrative with so many built-in setups/payoffs and genuinely exciting, unexpected turns that throw an audience off in the best way possible. Fear is the Key creates such a supremely satisfying movie that one really wonders why it isn’t talked about in the same breath as thrillers such as The Marathon Man or Three Days of the Condor.
Part of the issue is not giving away how the plot is constructed or the surprises within the narrative that give Fear is the Key its weight and enjoyment. However, it can be said that one should go along with narrative detours as they all have meaning once the added layers of narrative are revealed. This much can be said that the random incidents that thrust us into the film; a stranger (Barry Newman) causing a ruckus in a store in a dry county on a Sunday; his taking a hostage (Suzy Kendall) once he’s before a judge; the chase that ensues. All are no coincidences.
One can be assured that the action is excellent. Director Michael Tuchner working with screenwriter Robert Carrington, cinematographer Alex Thomson, and the dedicated stunt team (who’ve produced car chases from Bullitt and The French Connection) have created some of the best crack jack action set pieces this side of the 1970s. The 20-minute car chase at the beginning of the film is truly one of the best of the era. Yes, one of the best of the era.
Though unlike some of the films of the era the film is not more than an epic car chase. Fear is the Key has a narrative that works like clockwork, much like the very best from novelist Alistair MacLean. For those who love the novelist film adaptations are in for a treat.
The Transfer
Arrow Video has treated Fear is the Key with the care and respect they have with any of their biggest titles. The image is clean and free of any dirt, hair, specks, or scratches throughout its runtime. They’ve wisely kept the film’s grain structure intact which leads to a truer representation of how the film was shot and produced. Fans of the film will be excited to revisit the film.
The Extras
They include the following;
The all-new audio commentary by filmmaker and critic Howard S. Berger opens with a discussion of Alistair MacLean the novelist whose work this film is based on and why they did not put his name above the title. Some of the details include the place in Popular Culture where the major novelist were and their importance to film; a discussion about the MacLean “formula”; discussion of star’s Barry Newman personal and career history – including a discussion of the similarities to his role in Vanishing Point; the cinematography of Alex Thompson – and his use of the widescreen frame as it relates to the story and themes; a discussion about stunt coordinator Carey Loftin – the other films he was involved with, and how he taught Newman to drive for Vanishing Point; a discussion of director Michael Tuchner work here and throughout his career; a great conversation about the grief in this film – and how it’s a rare occurrence in films and the examples of this; a larger discussion throughout about the way the film is built for multiple viewings with visual cues of things to come; a discussion about the personal and professional career of Alistair MacLean; a larger conversion about the various co-stars in the film including Dolph Sweet, John Vernon, Ben Kingsley, et. al.; and much more.
A Different Kind of Spy Game (23:33) – is an all-new visual essay by film critic and author Scout Tafoya looking at not just Fear is the Key but Alistair MacLean’s work as a novelist and the adaptation of his work and where this film ranks amongst those films. Some of the details include a personal history of MacLean before he began writing novels, MacLean’s reputation as a counterpoint to James Bond; why the writer’s work were such hot properties during the 60s and then weren’t or had difficulty in the 70s; and much more. The essay is wonderfully produced with scenes from various film adaptations and more.
Fear in the Key of Budd (16:34) – an all-new appreciation/interview of composer Roy Budd and his score for Fear Is the Key by film and music historian Neil Brand. Brand begins with his personal familiarity with the film itself. The historian then dives into Budd’s exemplary work in the film, and how it helps the film. Some of the other details include a personal account of Budd’s career as a composer, his technical style, his emotional style, the work done by Budd within Fear is the Key, the various cult classics and classics he scored (including Get Carter), and much more. Another polished interview with visuals beyond talking head interview.
Producing the Action (29:55) – an archive interview with associate producer Gavrik Losey looks at how he got involved with the project, the issues, and how he pulled off some of the stunts in the film. Losey is great at breaking down the issues that were contained within the narrative; how they resolved those issues within preproduction; discussion in detail about the various big set pieces; some truly wild stories about the production dealing with Louisiana politics; a terrifying discussion about a local sheriff; how they accomplished those set pieces – including some great stories about trying to find oil rigs, fleets of cars for destruction/stunts, a trip to the Daytona 500, and more; and much more. Losey gives a truly wonderful insight into the troubles that a production can run into.
Bayou to Bray (39:30) – an archive featurette in which crew members look back on the making of the Fear is the Key. The featurette does a great job of discussing the difficulties the UK-based production had coming to America (specifically Louisiana) and making the actual film with all the bumps and issues that could possibly come up including issues with cameras and lenses and the stunt work. There are some great anecdotes about the production both funny and scary. Featuring interviews with production accountant Paul Tucker; focus puller John Golding; sound mixer Anthony Jackson; 3rd assistant director Peter Cotton; actor Peter Marinker; props Terry Wells; and others.
Theatrical trailer (2:16)
The Final Thought
Arrow continues its stacked releases of cult classics with Fear is the Key. Highest recommendations!!!
Arrow Video’s Blu-Ray edition of Fear is the Key is out now.
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