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Posts Tagged ‘Bradford Dillman’


Saturday, July 8th, 2017


Stars – George Segal, Bradford Dillman, Robert Vaughn, Ben Gazzara
Director – John Guillermin * Reviewed by Steven Ruskin

Released by Twilight Time
Limited edition of 3,000 Units
Available at Screenarchives.com and Twilighttimemovies.com

Bridge at Remagen is one of the last old school type war movies. Though it is not a massive epic production like The Longest Day (1962), Battle of the Bulge (1965) or even A Bridge Too Far (1977) it still fits right alongside them. It is a much smaller scale film focusing on a single critical bridge at the end of World War II. Whether to blow it up or defend it goes back and forth, even for both sides. On the one hand the higher echelon of command sees the bridge as a strategic opportunity. Further down the line a few of the officers on the ground see a chance to save lives by keeping it open. It’s a bit confusing but by the last third the pitched battle between the Americans to save it and the Germans to destroy it is clear.

George Segal plays a war weary man who has a promotion thrust on him when his commander is killed. He leads his men with a clear sense of detachment. It bothers him plenty but there is little he can do about it. Robert Vaughn plays a German officer with a very similar set of values. Each of these men have to answer to superiors drunk with power who place self aggrandizing goals higher than the value of their men’s lives. There are small bursts of action but you know that the final act will be the big one. Along the way there are several recognizable supporting actors on the American side like Bo Hopkins (Killer Elite) and Matt Clark (White Lightning) who give the film a nice well worn feel. We know these guys.

The film feels a bit long at just under two hours. Scenes with Vaughn dealing with the locals get bogged down amidst needless melodrama. It is enough to see that his forces are low and he needs to conscript the townspeople into soldiers. On the American side of things we see Ben Gazarra (Roadhouse) stripping valuables from any dead man he runs across. He’s a complete opportunist but he’s got a rough charm that is undeniable. At one point Segal remarks to Bradford Dillman that they have no friends, they can’t afford to. The film makes its points on a man to man level rather then outwardly embracing the anti-war feelings that would surface so strongly in the next decade. The characters are also pretty straight ahead rather than the kind of sordid types that permeated The Dirty Dozen. Director John Guillermo (The Blue Max) delivers a solid meat and potatoes war film with terrific action sequences particularly at the end. It barely earns the R rating though it is thoroughly enjoyable. Robert Vaughn gives a very nice performance. He brings much more to the role that he usually gets to in films like Bullitt (1968) where he is such an obvious jerk. This is the Vaughn we know from The Magnificent Seven (1960).

Video – 2.55:1
This is a remarkably clean and strong transfer. Colors are bold. Black levels are nice and deep. Detail is strong throughout. There was no excessive scrubbing at all. This was shot well and obviously the original materials have been taken well care of. One of the hardest things to render faithfully on any transfer is fire. There is plenty of it here and it looks bright, colorful and quite real.

Audio – 1.0 DTS-HD with subtitles offered in English SDH
Elmer Bernstein’s scores sounds nice and bold even if in mono. Some of the dialogue in the crowded exteriors can be hard to make out distinctly at times but that is the way it was originally recorded.
Extras – Twilight Time’s signature isolated music track,

On a scale of Poor, Fair, Good, Excellent, Classic:

Blu-Ray – Excellent

Movie – Excellent

Compulsion (1959) Blu-Ray Review

Saturday, March 18th, 2017


Stars – Dean Stockwell, Bradford Dillman, Orson Welles, Diane Varsi, E.G. Marshall
Director – Richard Fleischer

Released by Kino Studio Classics

Reviewed by Steven Ruskin

In 1924 two university students, Leopold and Loeb kidnapped and murdered a 14 year old boy. The were both from wealthy families. They did not do this for money. They were not driven by revenge or any other passion. The reason given was that they wanted to commit the perfect crime to demonstrate their intellectual superiority. This crime of the century rocked the nation. The murder was awful. The motive shocking. In 1948 Alfred Hitchcock brought the story to the screen as Rope. Ten years later Richard Fleischer made this version which is exceedingly well done and quite chilling. The two leads are fantastic. Bradford Dillman plays Artie Strauss as a coiled bundle of energy and ego. He carries himself as being the smartest guy in any room. He is always up for kicks as long as he is the center of attention. Dean Stockwell as Judd Steiner is brilliant and deeply troubled. We can feel his torment and pain from the first moment we meet him. He is obsessed with Artie and will seemingly do anything to win his approval. Artie manipulates him without mercy. The two have a very strange relationship that the film portrays in good detail. The movie starts with the two of them driving at night in a very fancy sports car.  They barely miss hitting a drunk in the deserted street. Artie taunts Judd to go back and run him over. Artie is full of bravado, confidence and liquor. Judd is scared but more frightened of disappointing his friend.

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We do not actually see the murder of the boy. We hear about it while Martin Milner (13 Ghosts) as a young reporter classmate of theirs gets the lowdown on the cause of death from the coroner. There is a sequence in the film with Judd taking Milner’s girl friend played by Diane Varsi (Wild in the Streets) out to go bird watching. Judd is a nationally recognized ornithologist. When they are alone in the woods he steals a kiss and attacks her but he can’t go through with it. Judd’s balance is very off emotionally. It’s a difficult scene to watch. Judd is ashamed for his actions. But we can’t tell if that is because it was such a terrible thing to do or because he realizes he is not attracted to the girl. There is a very uneasy feeling whenever any hint of homosexuality comes up with Judd. Clearly he is driven by an attraction to Artie but he seems so painfully uncomfortable with it. Rather than offer any explanation or understanding for this the film lets us feel the tremendous struggle that Judd experiences. He is tortured by it.

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From the moment that Orson Welles appears in the film things change. His presence dominates every scene he is in. He has such control over his performance. His presents Clarence Darrow, called Jonathan Wilk here, as immensely charming even affable. But none of that charm belies the talent churning inside his mind as he works his way into the case. It is a grand standing move when he changes his plea for the two boys to guilty with mitigating circumstance. That tactics allows him to plead the case directly to the judge. Two things are accomplished by that. First and foremost the boys have a chance at getting a lengthy sentence as opposed to being hung which the jury would very likely have selected. Secondly we get to see the great Orson Welles deliver a lengthy almost Shakespearian monologue against capital punishment. During this discourse the film takes us away from the sordid details of this murder and becomes a philosophical discussion. This is how it played out in the real life trail too. Most courtroom dramas hinge on the revelation of details or the legal talents of the attorneys as they battle the merits of the case. But here as in Inherit the Wind much larger issues are at stake. It is significant that both films are based on real events. The actual crimes begat a consideration of moral issues that loom larger than the plight of the two students or the school teacher in the Scopes Monkey Trail.

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It’s fascinating to watch Welles work. Tim Lucas in his commentary goes into some of the stories about his antics on the set. Apparently he did not want anyone to have eye contact with him while he delivered his very lengthy monologue several times for the cameras. I am continually fascinated by the way he shapes his words. He pauses in his sentences often placing a different emphasis than you’d expect. The performances of Dillman and Stockman are excellent, too. Each one is so different than the other and yet they were really the only friends they had. Diane Varsi gives a very good performance as Ruth the girl that Judd tried to force himself on. Her character testifies about him in court and seems to genuinely like him. Compulsion remains a powerful drama filled with several strong actors. The widescreen Cinemascope image as lensed by William Mellor is outstanding. It is clever the way he positions Dillman’s character almost letting him sneak into the action as his character worms his way into helping with the investigation.  He gives us a large view of the courtroom scenes so it often feels like we are in an auditorium listening to a great orator, and we are.

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Video – 2.35:1
Nice strong detail is abundant in this new release from Kino Studio Classics. Black levels are good. Everything is nice and sharp. You can really appreciate everything that is going on with the William Mellor’s Cinemascope photography.

Audio – DTS-HD mast 2.0 with subtitles offered in English
All dialogue is easy to follow.  Music cues support the film nicely without being over played in the mix.

Extras – Commentary with by Film Historian Tim Lucas, Trailers for Compulsion and a few related other titles.

The Tim Lucas commentary covers the background of the true case the film was based on and a good deal about the actors involved. He reads some excerpts from director Fleischer’s book that concern his experiences with the making of the film. Despite all the grandstanding that has been attributed to Welles Fleischer was able to control the shoot.  Lucas has a nice relaxed delivery. He’ll take short breaks once in awhile.

On a scale of Poor, Fair, Good, Excellent, Classic :

Blu-Ray – Excellent

Movie – Excellent