There really wasn’t a genre that Robert Altman didn’t touch. Including the 80’s High School Comedy made so famous by John Hughes. Unlike Hughes, Altman’s film was so radically punk rock and by that definition anti-authoritarian that it went sight unseen (for the most part) during the 80s. O.C. and Stiggs, like all of Altman’s films, buck the conventions of genre and storytelling to attempt to bring something new.
Oliver Cromwell Oglivie, aka O.C. (Daniel H Jenkins), and Mark Stiggs, aka Stiggs (Neill Barry), are in the midst of a battle with Insurance Tycoon Randall Schwab and the entire Schwab clan. Though the Schwabs don’t know it. O.C. and Stiggs spend their entire summer at war with Schwab, ensuring they rub against his Reagan Era greed that O.C.’s grandfather is a casualty of. Are the duo’s efforts enough to stop the wall of corporatized greed in their small town?
O.C. and Stiggs, as a slobs vs snobs high school comedy, Altman has made a truly wicked piece of teenage rebellion. Like its two main characters, the film is all over the place narratively and thematically. That isn’t an issue. This isn’t M*A*S*H* or Nashville – a treatise on the Vietnam War or the political upheaval and strife of the 1960s. It’s Altman at his lightest and most mischievous, a film that’s as much a prank at the establishment as it is an ode to youth.
Co-leads Jenkins and Barry are fine as the rebellious high schoolers, but it’s the supporting cast that truly shines. Paul Dooley, Dennis Hopper, Melvin Van Peebles, Ray Walston, Martin Mull, and Jane Curtin all play a game of one-upmanship throughout the entire runtime to see who can come out as the best scene assassin. As with any Altman joint, it’s always repeated viewings that truly reward the viewer with how clever the work of the supporting players is. The winner isn’t even one of the bigger supporting players, but Jon Cryer as one of the Schwab children. Whether it’s wielding an Uzi at a birthday party or reading Penthouse Forum letters in the middle of the night, Cryer is a comedic assassin of the highest order. Close second is Dennis Hopper literally playing his character from Apocalypse Now,complete with an intro that includes The Door’s The End playing.
Thankfully, Altman stays away from the normal pop confection needle drops of the 1980s (looking at you, John Hughes), opting for music by King Sonny Abe and his African Beats. That choice optimizes O.C. and Stiggs a film so uniquely its own film, but not so much as to lose its audience. All one needs to do is watch the scene where O.C. and Stiggs hijack a dinner theater for King Sonny Abe to put on a rousing set. If you find yourself like the Schwabs crying and complaining … you’re the problem, AND this film isn’t for you. Which is fine by Stiggs and O.C., my guess is that they or Robert Altman really don’t care that you like the film and that just having it out there is enough.
The Transfer
Regarding the Transfer from the booklet that Radiance has included in the release: O.C. and Stiggs was restored by MGM and supplied to Radiance Films as a High-Definition digital master file via Park Circus. The film is presented in the original aspect ratio with original audio.
The restoration and transfer done for this release is an excellent representation of the look of Altman’s films of the era. The image is clean of any dirt or scratches throughout the run time. The color reproduction is solid with the various arid settings, and loud, colorful characters’ wear is showcased wonderfully, as is the widescreen photography by Pierre Mignot. Radiance Films continues to release beautiful restorations on forgotten films, and O.C. and Stiggs, I can thankfully say, is one of those.
The Extras
They include the following;
The Water is Finally Blue – The Untold Story of Robert Altman’s O.C. and Stiggs: A new documentary on the making of the film
New interview with camera operator Robert Reed Altman
Gallery of rare photos from the collection of the University of Michigan
The Water is Finally Blue – The Untold Story of Robert Altman’s O.C. and Stiggs (2:08:47) – this all-new “documentary” on the making of the film by writer Hunter Stephenson is an adaptation of his oral history for Apology magazine. The documentary is more of an audio commentary hybrid, as there are no actual visual interviews, but it is artfully edited with behind-the-scenes photos, clips of the film, and other ephemera. Yes, the film is over two hours, eclipsing the runtime of the film but there is a wealth of information to be gleaned from the production and buried non-release from the film. The documentary details the casting process, the script development, the production, and anecdotes from the production from the various participants, including the amazing car, aka the Gillamonster, that O.C. and Stiggs roll in, possibilities of a sequel for O.C. and Stiggs, and other possible sequels that projects that Altman directed, the greatness of Melvin Van Peebles, casting Dennis Hopper in an ode to his most iconic role and just how wild he was during the era, Martin Mull working with Bob Uecker, the securing and performance of King Sonny Ade and his African Beats, the terrible preview screening, the lack of a proper release, the rise of the cult status of the film, the eventual article/oral history by Apology, and much more. Featuring audio interviews with stars Daniel Jenkins, Neill Barry, Paul Dooley, Martin Mull, Tiffany Helm, Victor Ho, producer Peter Newman, production manager Allan Nicholls, artistic consultant Stephen Altman, and National Lampoon expert Josh Karp. This is truly a crown jewel of special features for the year on one of the greatest filmmakers and one of his least recognized films.
Robert Reed Altman (11:21) – is an all-new interview with the camera operator for O.C. and Stiggs. Altman opens with how he worked on over 17 films with his father, beginning at 14 years old on Nashville. He goes on to discuss the misunderstood nature of his father’s films, including O.C. and Stiggs, details from the production in Phoenix, and much more.
Gallery – consisting of 202 black and white behind-the-scenes photos from the production.
The Final Thought
Radiance Films has given O.C. and Stiggs one of Altman’s least seen films as a wonderful release. Hopefully, with this release, maybe Radiance can secure the rights to Altman’s truly misunderstood and little-seen Quintet. Highest Possible Recommendations!
The Robert Altman High School Cult Comedy O.C. and Stiggs makes its Blu-ray debut thanks to Radiance Films.
The Film
There really wasn’t a genre that Robert Altman didn’t touch. Including the 80’s High School Comedy made so famous by John Hughes. Unlike Hughes, Altman’s film was so radically punk rock and by that definition anti-authoritarian that it went sight unseen (for the most part) during the 80s. O.C. and Stiggs, like all of Altman’s films, buck the conventions of genre and storytelling to attempt to bring something new.
Oliver Cromwell Oglivie, aka O.C. (Daniel H Jenkins), and Mark Stiggs, aka Stiggs (Neill Barry), are in the midst of a battle with Insurance Tycoon Randall Schwab and the entire Schwab clan. Though the Schwabs don’t know it. O.C. and Stiggs spend their entire summer at war with Schwab, ensuring they rub against his Reagan Era greed that O.C.’s grandfather is a casualty of. Are the duo’s efforts enough to stop the wall of corporatized greed in their small town?
O.C. and Stiggs, as a slobs vs snobs high school comedy, Altman has made a truly wicked piece of teenage rebellion. Like its two main characters, the film is all over the place narratively and thematically. That isn’t an issue. This isn’t M*A*S*H* or Nashville – a treatise on the Vietnam War or the political upheaval and strife of the 1960s. It’s Altman at his lightest and most mischievous, a film that’s as much a prank at the establishment as it is an ode to youth.
Co-leads Jenkins and Barry are fine as the rebellious high schoolers, but it’s the supporting cast that truly shines. Paul Dooley, Dennis Hopper, Melvin Van Peebles, Ray Walston, Martin Mull, and Jane Curtin all play a game of one-upmanship throughout the entire runtime to see who can come out as the best scene assassin. As with any Altman joint, it’s always repeated viewings that truly reward the viewer with how clever the work of the supporting players is. The winner isn’t even one of the bigger supporting players, but Jon Cryer as one of the Schwab children. Whether it’s wielding an Uzi at a birthday party or reading Penthouse Forum letters in the middle of the night, Cryer is a comedic assassin of the highest order. Close second is Dennis Hopper literally playing his character from Apocalypse Now,complete with an intro that includes The Door’s The End playing.
Thankfully, Altman stays away from the normal pop confection needle drops of the 1980s (looking at you, John Hughes), opting for music by King Sonny Abe and his African Beats. That choice optimizes O.C. and Stiggs a film so uniquely its own film, but not so much as to lose its audience. All one needs to do is watch the scene where O.C. and Stiggs hijack a dinner theater for King Sonny Abe to put on a rousing set. If you find yourself like the Schwabs crying and complaining … you’re the problem, AND this film isn’t for you. Which is fine by Stiggs and O.C., my guess is that they or Robert Altman really don’t care that you like the film and that just having it out there is enough.
The Transfer
Regarding the Transfer from the booklet that Radiance has included in the release: O.C. and Stiggs was restored by MGM and supplied to Radiance Films as a High-Definition digital master file via Park Circus. The film is presented in the original aspect ratio with original audio.
The restoration and transfer done for this release is an excellent representation of the look of Altman’s films of the era. The image is clean of any dirt or scratches throughout the run time. The color reproduction is solid with the various arid settings, and loud, colorful characters’ wear is showcased wonderfully, as is the widescreen photography by Pierre Mignot. Radiance Films continues to release beautiful restorations on forgotten films, and O.C. and Stiggs, I can thankfully say, is one of those.
The Extras
They include the following;
The Water is Finally Blue – The Untold Story of Robert Altman’s O.C. and Stiggs (2:08:47) – this all-new “documentary” on the making of the film by writer Hunter Stephenson is an adaptation of his oral history for Apology magazine. The documentary is more of an audio commentary hybrid, as there are no actual visual interviews, but it is artfully edited with behind-the-scenes photos, clips of the film, and other ephemera. Yes, the film is over two hours, eclipsing the runtime of the film but there is a wealth of information to be gleaned from the production and buried non-release from the film. The documentary details the casting process, the script development, the production, and anecdotes from the production from the various participants, including the amazing car, aka the Gillamonster, that O.C. and Stiggs roll in, possibilities of a sequel for O.C. and Stiggs, and other possible sequels that projects that Altman directed, the greatness of Melvin Van Peebles, casting Dennis Hopper in an ode to his most iconic role and just how wild he was during the era, Martin Mull working with Bob Uecker, the securing and performance of King Sonny Ade and his African Beats, the terrible preview screening, the lack of a proper release, the rise of the cult status of the film, the eventual article/oral history by Apology, and much more. Featuring audio interviews with stars Daniel Jenkins, Neill Barry, Paul Dooley, Martin Mull, Tiffany Helm, Victor Ho, producer Peter Newman, production manager Allan Nicholls, artistic consultant Stephen Altman, and National Lampoon expert Josh Karp. This is truly a crown jewel of special features for the year on one of the greatest filmmakers and one of his least recognized films.
Robert Reed Altman (11:21) – is an all-new interview with the camera operator for O.C. and Stiggs. Altman opens with how he worked on over 17 films with his father, beginning at 14 years old on Nashville. He goes on to discuss the misunderstood nature of his father’s films, including O.C. and Stiggs, details from the production in Phoenix, and much more.
Gallery – consisting of 202 black and white behind-the-scenes photos from the production.
The Final Thought
Radiance Films has given O.C. and Stiggs one of Altman’s least seen films as a wonderful release. Hopefully, with this release, maybe Radiance can secure the rights to Altman’s truly misunderstood and little-seen Quintet. Highest Possible Recommendations!
Radiance Films’ Blu-Ray edition of O.C. and Stiggs is out now
Share this:
Like this:
Discover more from The Movie Isle
Subscribe to get the latest posts sent to your email.