Death Line (aka Raw Meat) (1972) – Gary Sherman directs this underrated (and for years largely unseen) British horror film about the last survivor of a literal underground clan (trapped in a subway construction cave in a century before) who emerges from his cave to hunt for food on the London Underground. Yes, it’s a cannibal film, but it’s also a startlingly tender film about a literal underclass abandoned by the world above, a story that roils in class division. It takes the death of an OBE to get the police looking into the spate of disappearances on the London Underground.
The killer, an unspeaking, primitive figure called the “Man” in the credits (Hugh Armstrong), is also in some ways the protagonist. Drooling and diseased, suffering from plague and malnutrition, he hunts the tunnels of the Underground for food for his dying mate (June Turner). Donald Pleasance steals the film as the unconventional, sarcastic Inspector assigned to the case and then meets his match in a single scene with Christopher Lee as an arrogant high class MI-5 agent. Not so David Ladd (son of Alan Ladd and brother of co-producer Alan Ladd Jr.) as an American in London and Sharon Gurney as his girlfriend and soon-to-be captive of the Man. Their self-involved manner and disdain for the lower classes stands in contrast to the purity of the underground couple but the film stumbles over their scenes together.
Apart from that, however, Death Line is a remarkable horror film.
Escape from New York: Collector’s Edition (Scream Factory, Blu-ray) – “Plissken? I heard you were dead.” “Call me Snake.” Maybe it’s not John Carpenter’s best film, but it’s one of his most fun and the premise is irresistible: in the future, Manhattan has been turned into a high security island prison and Liberty Island is the guard station. When Air Force One is hijacked by an American revolutionary outfit (this may be what the future looks like from 1981, but these yahoos look more like holdovers from the early seventies), the American President (Donald Pleasance) crash lands in the middle of no man’s land and becomes a bargaining chip for the reigning king of the outlaws (Isaac Hayes), who runs the place like a gangland Godfather.
Kurt Russell hisses out a B-movie Clint Eastwood impression as Snake Plissken, a one-time war hero turned notorious criminal and his arrival at Liberty Island in cuffs makes him the only hope they have of rescuing POTUS before very bad things start to happen. What exactly isn’t important. It’s a deadline that Plissken has to meet if he wants out alive, which is how head of security Lee Van Cleef, Plissken’s nemesis turned wary ally by circumstance, guarantees his cooperation. As he navigates the feral streets to rescue the President, he picks up a motley, not completely trustworthy crew (including Harry Dean Stanton as the weaselly Brain, Adrienne Barbeau as his pistol-packing lover, and Ernest Borgnine as a big-band loving cabbie). But Russell is the revelation. He was best known for Disney comedies at the time and Carpenter had to push the studio to accept him in the lead. He delivers.
Carpenter’s dark, garbage-strewn streets lit by bonfires and headlights makes for inspired art direction and his synthesizer score is suitably minimalist and moody. Shot for a song in the rougher parts of St. Louis (doubling for the Big Apple) with simple but bold model work (some of it created by James Cameron in his Roger Corman days) and striking computer graphics, it’s a hoot, yet behind the colorful personalities of the prison yard gang is a sardonic crack about the state of modern urban America lost to poverty, runaway crime, and gangs that rule the inner city. This really was a product of its time.
Escape from New York is both a marvelously scruffy film and a well-produced piece of dystopian cinema superbly shot by Dean Cundey in Carpenter’s beloved Panavision widescreen. The new 2k digital master, scanned from the inter-positive struck from the original negative, doesn’t take anything away from that. It gives shows the squalor in much greater detail, and the clarity helps give definition to the nocturnal imagery. This is, after all, a film that takes place mostly on the streets at night.
MGM released the film on Blu-ray a couple of year ago but it was a bare-bones affair with none of the extras from the terrific DVD special editions. This two-disc edition features the two previously available commentary tracks—a thoroughly entertaining track with director John Carpenter and Kurt Russell chatting away like old (“By the way, both of our ex-wives are in the movie”) and a second track by producer Debra Hill and production designer Joe Alves covering more technical material—plus a third newly-recorded commentary track with co-star Adrienne Barbeau and cinematographer Dean Cundey, looking back with over thirty years’ hindsight. Barbeau has a lot of affection for the film and for Carpenter, to whom she was married at the time.
There are also five new interview featurettes on the second disc. “Big Challenges in Little Manhattan: The Visual Effects of Escape from New York” featuring interviews with visual effect DP Dennis Skotak and matte artist Robert Skotak, “Scoring the Escape: A Discussion with Composer Alan Howarth” (who collaborated with Carpenter on the score), “On Set with John Carpenter: The Images of Escape from New York” with still photographer Kim Gottlieb-Walker, “I Am Taylor: An Interview with Actor Joe Unger,” and “My Night on Set: An Interview with Filmmaker David DeCoteau.”
Carried over from the previous DVD release are the complete ten-minute robbery sequence that Carpenter cut from the film (it was meant to be the opening scene) with optional commentary by Carpenter and Russell, the vintage promotion featurette “Return to Escape From New York,” trailers, and a gallery of stills, posters, and promotional art.