Videophiled: Olive presents ‘Dreaming The Quiet Man,’ ‘Best Seller,’ ‘The End of Violence,’ Convicts’
John Ford: Dreaming The Quiet Man (Olive, Blu-ray, DVD), a feature-length documentary on the making of John Ford’s beloved romantic classic, frames the production in the feeling that the Irish people have for the film, Ford’s tribute to his Irish-American legacy. Director Sé Merry Doyle provides a survey on Ford’s career and offers insight into the contradictory character of the director (Maureen O’Hara, interviewed for the documentary, describes her complicated and sometimes trying relationship with Ford, who was in love with her and showed it by tormenting her), and includes rare color home movie footage from the set and features interviews with filmmakers and film history experts Martin Scorsese and Peter Bogdanovich, Ford biographer Joseph McBride, and Irish locals who were involved in the film. It falls somewhere between stand-alone documentary and elaborate supplement to an unproduced special edition disc set.
Olive rarely if ever offers supplements on their discs. This is an exception, and fittingly so, as the extras are scenes and interviews deleted from the film.
Best Seller (Olive, Blu-ray, DVD) is modest but smartly-scripted thriller from 1987 that holds up remarkably well, thanks to a savvy script by Larry Cohen, who was better known at the time as a cagey creator of high-concept, low-budget exploitation films, and great casting. James Woods once again brings charm to the role of a pathologically vindictive hitman who goes to a Joseph Wambaugh-like cop/author (Brian Dennehy) to expose his former employer. This narcissist wants to be the hero of his next book and Cohen gives Woods plenty to work with, from his great lines (which he delivers with the cocky grin and a predator’s confidence) to a peacock’s pride in his work. He cannily mixes social satire and genre twists in his clever screenplay of an unlikely friendship between two men with more history than they realize; his dialogue has a bite and an unforced wit that hovers somewhere between B-movie gangster dramas and buddy pictures. It wasn’t a hit when it came out—director John Flynn was better with character than action and never really gets the blood pumping through it—but it is still a smart, lean thriller and a minor gem of the modern crime genre.
The ambitious 1996 thriller The End of Violence (Olive, Blu-ray, DVD) finds director Wim Wenders overreaching to make grand statements about identity, conscience, and the surveillance state in modern L.A. from a screenplay with big ideas built on unformed characters and arch dialogue. Bill Pullman is the ostensible hero, a Roger Corman-like producer kidnapped by a pair of thugs with orders to kill him, while Gabriel Byrne watches powerlessly from on high, a meek Big Brother wired up through surveillance cameras hidden throughout the city. It’s ostensibly a thriller but Wenders twists what little onscreen violence there is into either coldly distanced observations (like watching a movie?) or abrupt but anonymous killings. The narrative is a tangle, neglecting characters and leaving the vast conspiracy more a suggestion than a fully conceived plot, and I wouldn’t recommend it to anyone but Wenders fans. But I am a Wenders fan myself and for all the faults I enjoy Wenders’ unerring eye for image and color, which creates an often beautiful film of unsettling menace and haunting mystery, and his generosity of character. The previous DVD was poorly mastered and non-anamorphic, so this new edition is a vast improvement.
Convicts (Olive, Blu-ray, DVD), which Horton Foote adapted from his own one-act play, is a coming-of-age story set on a turn-of-the-century Texas plantation owned by an aging skinflint of a landowner (played by Robert Duvall) who uses convict labor to work his spread. It’s a small, intimate story about mortality and Duvall, who won an Oscar for Tender Mercies, which Foote wrote, inhabits with a mix of authority and fragility, like a lonely King Lear slipping into dementia. Lukas Haas, who is our perspective on the story, plays the 13-year-old boy working in the plantation and brings a clear-eyed attentiveness and childlike doggedness to his character, and James Earl Jones co-stars as the manager of the plantation store, the closest that the owner has to a friend. Peter Masterson directs with an easy intimacy that serves the understated performances and Foote’s lyrical language without actually distinguishing the film.