The older I get the more I appreciate the career of director Michael Ritchie. From Smile to Downhill Racer to The Candidate to The Bad News Bears he had a streak of truly great films that few directors have rivaled. Prime Cut is one of the crown jewels of his career. A lean, mean, existentially brilliant crime thriller of the first degree.
Chicago mob enforcer Nick (Lee Marvin) is sent to Kansas City to put things “right” after Maryann (Gene Hackman) has sent the latest collector back as sausage links (literal sausage links). Armed with a small group, Nick has more to settle than the payment that Maryann owes Chicago (the sum of fifty large). Maryann sees Nick as nothing more than a wilted blade or wheat to be milled. How wrong Maryann is and sets off a bloody war in the midst of the town’s county fair.
It’s amazing that Prime Cut is only Ritchie’s second film. The control that the director exerts here on story, style, acting, and pacing is the kind of brilliance that even the most seasoned director cannot command. Ritchie wills the film into something special. The film at 87 minutes is the definition of lean. The way that within that time frame he is able to soak as much character and meaning out of the laconic performance of Hackman and Marvin should be studied by other directors who’ve attempted and failed at similar high-wire acts.
The casting of Marvin and Hackman as bitter rivals is the film’s biggest stroke of genius. The actors pare things down to the almost microscopic aggressive behavior. Their first meeting on-screen is a master class in the subtle. Watch as neither backs down but always keeps their cool but the aggression is present in every word, facial tick, and movement. The film never lets us forget these two apex predators are looking for some inflection point to use.
When the situation does explode the film soars with the sort of action scenes that feel organic rather than artificial. The wheat combine harvester chase is one of the more intense chase sequences of the 1970s, though also punctuated with one of the funniest payoffs ever. The finale set in a meat processing plant where the film began has been stolen from just about every cop film of the 1980s.
However, make no mistake. This is far more elevated than the junk action films of the 1980s. Prime Cut like its name is an elite-tier action film.
The Transfer
The all-new HDR/Dolby Vision Master – From a 4K Scan of the 35mm Original Camera Negative is a revelatory delight. Beyond being a sharp image, this new 4K scan with its HDR encoding gives the film’s color reproduction and contrast levels added punch. There isn’t a blemish or scratch on the image. The transfer is gorgeously luminous showcasing the wonderful widescreen anamorphic photography filmed on location in Chicago and Kansas City. The work here is simply jaw-dropping as the film shifts from the stark light of the Midwest to the dark cavernous rundown hotels and meatpacking plants showing no loss in quality or any sort of digital noise or ghosting. Prime Cut has never looked better, even projected on the big screen (which this reviewer has had the pleasure of seeing).
The Extras
They include the following;
NEW Audio Commentary by Lee Marvin Biographer Dwayne Epstein
NEW Audio Commentary by Film Historians Steve Mitchell and Nathaniel Thompson
Theatrical Trailer
The first of two all-new Audio Commentaries is by Lee Marvin Biographer Dwayne Epstein. Epstein opens his track by discussing his bonafides and the iconic opening moment of tracking the cattle’s fate in the stockyard to their end. Some of the other details include the work of composer Lalo Schifrin; most of the information and production anecdotes from Prime Cut most came from his interview with actor Greggory Walcott; a discussion about Walcott as an actor and the work he did throughout the 70s – including many Clint Eastwood; a discussion of the work of Gene Hackman – including the fact the actor came directly from The French Connection to this film; the production locations that was primarily filmed in Alberta, Canada – with exception of establishing shots in Chicago and Kansas City; the first and subsequent meetings between Lee Marvin and Gene Hackman – and a few wild stories from that; connections to the Martin Scorsese picture Casino; the relationship between Marvin and director Michael Ritchie – which was contentious to say the least; the work of Sissy Spacek – including disagreements Marvin and Ritchie had over the character’s intent in the film; the 70s and 60s troupe of filmmakers showing Americana – and how Ritchie does that here; a larger discussion of the various action set pieces; a larger discussion throughout about the various actors that appear in the film; the use of various real-life locations – including some great anecdotes about Lee Marvin at locations; and much more. Epstein’s commentary track is primarily focused on Marvin but does an excellent job of discussing the production.
The second all-new Audio Commentary by Film Historians Steve Mitchell and Nathaniel Thompson, who open with a discussion about this being both a Neo Noir and Modern-Day Western. Some of the details include why Gene Hackman agreed to star in this film; a discussion of the editing by Carl Pingitore; the way this film was, at the time, a risqué film – a discussion of the critical response which was not well received; the appearance of Eddie Egan – the real life Popeye Doyle (from The French Connection) and his successful transition from Police Officer to Actor; Lee Marvin’s personal life and how it effected the work here and in the future; a discussion of the original title of the film; a larger discussion throughout about Marvin’s performance, his work here and other films at the time, personal history, et. al.; a great quote by Marvin on what he thought of the film at the time he was doing press; a discussion of Ritchie and Marvin’s relationship – including what each thought of one another; a discussion of the performance of Gene Hackman – including where he was at the time in his career, some great appearances early in his career (including a Burt Reynolds TV Show); the work her, personal and career of Sissy Spacek; the work of Michael Ritchie – both here and throughout his career and the themes he dealt with during his career; a larger discussion of the legend of Lee Marvin including the drinking, the behavior on set, the professionalism, his war record in WW2, and much more; the larger ideas and themes and visuals that Ritchie works into the film and the work of screenplay by Robert Dillon; the score by Lalo Schifrin and a lack of release at any point – and the possible reason why; the violence that’s portrayed on screen – and how this was both new and apart of a wave of 70s films; the difficulties with locations and shooting in Canada during the summer that was unexpected; a larger discussion of the action scenes and how they’re tied to the themes of the story; a larger discussion throughout about the various actors that appear in the film; and much more. Mitchell and Thompson deliver another informative and entertaining track that has some minor crossover with the other commentary track.
Rounding out the special features are trailers for Prime Cut (2:34); Gorky Park (2:24); Dog Day (2:29); Mississippi Burning (1:37); The Package(2:15); Thunderbolt and Lightfoot (2:10); Charley Varrick (2:31); Brannigan (2:23); 3 Days of the Condor (3:05); Fletch (1:35)
The Final Thought
Kino Lorber continues to corner the market with revelatory 4K UHD editions of films. Highest Possible Recommendations!!!
Lee Marvin faces off against Gene Hackman in the midwestern crime thriller Prime Cut. The film gets a new 4K UHD edition with a new 4K Scan thanks to Kino Lorber.
The Film
The older I get the more I appreciate the career of director Michael Ritchie. From Smile to Downhill Racer to The Candidate to The Bad News Bears he had a streak of truly great films that few directors have rivaled. Prime Cut is one of the crown jewels of his career. A lean, mean, existentially brilliant crime thriller of the first degree.
Chicago mob enforcer Nick (Lee Marvin) is sent to Kansas City to put things “right” after Maryann (Gene Hackman) has sent the latest collector back as sausage links (literal sausage links). Armed with a small group, Nick has more to settle than the payment that Maryann owes Chicago (the sum of fifty large). Maryann sees Nick as nothing more than a wilted blade or wheat to be milled. How wrong Maryann is and sets off a bloody war in the midst of the town’s county fair.
It’s amazing that Prime Cut is only Ritchie’s second film. The control that the director exerts here on story, style, acting, and pacing is the kind of brilliance that even the most seasoned director cannot command. Ritchie wills the film into something special. The film at 87 minutes is the definition of lean. The way that within that time frame he is able to soak as much character and meaning out of the laconic performance of Hackman and Marvin should be studied by other directors who’ve attempted and failed at similar high-wire acts.
The casting of Marvin and Hackman as bitter rivals is the film’s biggest stroke of genius. The actors pare things down to the almost microscopic aggressive behavior. Their first meeting on-screen is a master class in the subtle. Watch as neither backs down but always keeps their cool but the aggression is present in every word, facial tick, and movement. The film never lets us forget these two apex predators are looking for some inflection point to use.
When the situation does explode the film soars with the sort of action scenes that feel organic rather than artificial. The wheat combine harvester chase is one of the more intense chase sequences of the 1970s, though also punctuated with one of the funniest payoffs ever. The finale set in a meat processing plant where the film began has been stolen from just about every cop film of the 1980s.
However, make no mistake. This is far more elevated than the junk action films of the 1980s. Prime Cut like its name is an elite-tier action film.
The Transfer
The all-new HDR/Dolby Vision Master – From a 4K Scan of the 35mm Original Camera Negative is a revelatory delight. Beyond being a sharp image, this new 4K scan with its HDR encoding gives the film’s color reproduction and contrast levels added punch. There isn’t a blemish or scratch on the image. The transfer is gorgeously luminous showcasing the wonderful widescreen anamorphic photography filmed on location in Chicago and Kansas City. The work here is simply jaw-dropping as the film shifts from the stark light of the Midwest to the dark cavernous rundown hotels and meatpacking plants showing no loss in quality or any sort of digital noise or ghosting. Prime Cut has never looked better, even projected on the big screen (which this reviewer has had the pleasure of seeing).
The Extras
They include the following;
The first of two all-new Audio Commentaries is by Lee Marvin Biographer Dwayne Epstein. Epstein opens his track by discussing his bonafides and the iconic opening moment of tracking the cattle’s fate in the stockyard to their end. Some of the other details include the work of composer Lalo Schifrin; most of the information and production anecdotes from Prime Cut most came from his interview with actor Greggory Walcott; a discussion about Walcott as an actor and the work he did throughout the 70s – including many Clint Eastwood; a discussion of the work of Gene Hackman – including the fact the actor came directly from The French Connection to this film; the production locations that was primarily filmed in Alberta, Canada – with exception of establishing shots in Chicago and Kansas City; the first and subsequent meetings between Lee Marvin and Gene Hackman – and a few wild stories from that; connections to the Martin Scorsese picture Casino; the relationship between Marvin and director Michael Ritchie – which was contentious to say the least; the work of Sissy Spacek – including disagreements Marvin and Ritchie had over the character’s intent in the film; the 70s and 60s troupe of filmmakers showing Americana – and how Ritchie does that here; a larger discussion of the various action set pieces; a larger discussion throughout about the various actors that appear in the film; the use of various real-life locations – including some great anecdotes about Lee Marvin at locations; and much more. Epstein’s commentary track is primarily focused on Marvin but does an excellent job of discussing the production.
The second all-new Audio Commentary by Film Historians Steve Mitchell and Nathaniel Thompson, who open with a discussion about this being both a Neo Noir and Modern-Day Western. Some of the details include why Gene Hackman agreed to star in this film; a discussion of the editing by Carl Pingitore; the way this film was, at the time, a risqué film – a discussion of the critical response which was not well received; the appearance of Eddie Egan – the real life Popeye Doyle (from The French Connection) and his successful transition from Police Officer to Actor; Lee Marvin’s personal life and how it effected the work here and in the future; a discussion of the original title of the film; a larger discussion throughout about Marvin’s performance, his work here and other films at the time, personal history, et. al.; a great quote by Marvin on what he thought of the film at the time he was doing press; a discussion of Ritchie and Marvin’s relationship – including what each thought of one another; a discussion of the performance of Gene Hackman – including where he was at the time in his career, some great appearances early in his career (including a Burt Reynolds TV Show); the work her, personal and career of Sissy Spacek; the work of Michael Ritchie – both here and throughout his career and the themes he dealt with during his career; a larger discussion of the legend of Lee Marvin including the drinking, the behavior on set, the professionalism, his war record in WW2, and much more; the larger ideas and themes and visuals that Ritchie works into the film and the work of screenplay by Robert Dillon; the score by Lalo Schifrin and a lack of release at any point – and the possible reason why; the violence that’s portrayed on screen – and how this was both new and apart of a wave of 70s films; the difficulties with locations and shooting in Canada during the summer that was unexpected; a larger discussion of the action scenes and how they’re tied to the themes of the story; a larger discussion throughout about the various actors that appear in the film; and much more. Mitchell and Thompson deliver another informative and entertaining track that has some minor crossover with the other commentary track.
Rounding out the special features are trailers for Prime Cut (2:34); Gorky Park (2:24); Dog Day (2:29); Mississippi Burning (1:37); The Package (2:15); Thunderbolt and Lightfoot (2:10); Charley Varrick (2:31); Brannigan (2:23); 3 Days of the Condor (3:05); Fletch (1:35)
The Final Thought
Kino Lorber continues to corner the market with revelatory 4K UHD editions of films. Highest Possible Recommendations!!!
Kino Lorber’s 4K UHD Edition of Prime Cut is out on August 20th
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