Category Archives: Film

“INDIAN EPIC”— Legendary, Lavish Cliffhanger from Fritz Lang


Legendary, Lavish Cliffhanger from Fritz Lang

Amos Lassen

 “Indian Epic” is “A sweeping adventure filled with tigers, snakes, romance and the camp-connoisseur favorite Debra Paget in more than three hours of expressionistic color and wild plot developments await.” It is “A clear precursor to the Indiana Jones series…Perhaps Lang’s most open-aired use of color, and wonderful, late-period entertainment.”

Fritz Lang who lived in exile from Hollywood for some twenty years returned to his native Germany to direct a lavish two-part cliffhanger from a story he co-authored almost forty years earlier. Taken together,  1959’s “The Tiger of Eschnapur” and “The Indian Tomb” are known as “Fritz Lang’s Indian Epic”.

Lang had been operating outside the Hollywood system and given more freedom and resources than he had seen in years. He returned to remake the exotic adventure “The Indian Tomb”, which he originally helped to write in 1921 but didn’t have the opportunity to direct himself. With gorgeous and breathtaking location shoots, a large international cast, elaborate sets and the danger and treachery of the jungle, Lang used evocative images and montage that proved him a virtuoso of film form. 

In “The Tiger of Eschnapur”, Western architect Harold Berger (Paul Hubschmid), was called to India by Chandra, the Maharaja of Eschnapur and he falls in love with the beautiful temple dancer Seetha (Debra Paget), although she is promised to the Maharaja. Their betrayal ignites the wrath of a vengeful Chandra, who is fighting his own battle for power with his scheming half-brother, Ramigani, leading to the lovers’ daring escape into the desert.

In Part Two, “The Indian Tomb”, the lovers are rescued by sympathetic desert villagers, only to be later given up for ransom. Seetha is captured and sent back to Eschnapur, where she must perform a death-defying and erotic temple dance to prove her innocence. Meanwhile, Ramigani incites a revolt against the Maharaja and uses both Berger and Seetha as pawns in his plot to seize the throne. 

 The film was originally released in America as “Journey to the Lost City”, a radically condensed 90-minute version. Now these exotic masterpieces are finally presented in all their original splendor, featuring over 3 hours of breathtaking cinematography and cliff-hanging suspense, in this new 4K restored edition.


  • Audio commentaries by film historian David Kalat
  • The Indian Epicdocumentary
  • “Debra Paget, For Example”, a video essay by filmmaker Mark Rappaport
  • 20-page booklet with an essay by film scholar Tom Gunning

Founded in 2002 as one of the first-ever subscription film services with its DVD-of-the-Month club, Film Movement is now a North American distributor of award-winning independent and foreign films based in New York City. It has released more than 250 feature films and shorts culled from prestigious film festivals worldwide.  Film Movement’s theatrical releases include American independent films, documentaries, and foreign art house titles. Its catalog includes titles by directors such as Hirokazu Kore-eda, Maren Ade, Jessica Hausner, Andrei Konchalovsky, Andrzej Wajda, Diane Kurys, Ciro Guerra and Melanie Laurent. In 2015, Film Movement launched its reissue label Film Movement Classics, featuring new restorations released theatrically as well as on Blu-ray and DVD, including films by such noted directors as Eric Rohmer, Peter Greenaway, Bille August, Marleen Gorris, Takeshi Kitano, Arturo Ripstein, King Hu, Sergio Corbucci and Ettore Scola. For more information, please visit Visit for more information about Film Movement Plus, the new subscription streaming service from Film Movement.

“JAKE SPEED”— Not Quite a Legend Yet More Than a Myth

“Jake Speed”

Not Quite a Legend Yet More Than a Myth

Amos Lassen

When her sister is taken by a gang of white slavers, Margaret (Karen Kopins) needs a hero in order to bring her home. It is here that we meet Jake Speed (Wayne Crawford), a hero of pulp thriller novels who now comes into the real world. With Margaret and his sidekick Desmond Floyd (Dennis Christopher), Jake goes after the kidnappers in a southern African country in the midst of their  civil war. However, it soon turns out Jake got much more than he planned for when he learns that the ringleader of the slavers is his own arch-nemesis: the wicked and totally insane Sid (John Hurt).

“Jake Speed” is a film that is filled with romance, death-defying stunts, spellbinding scenery shot on location in Zimbabwe, an off-the-wall performance by the late John Hurt and lots of cheesy humor and acting. But it does prove to us  that without a worthy foe, there is no such thing as a hero.

I love a good bad movies. The movie begins with some young people being abducted during a trip to Europe, one of them being chased in one of those ridiculous movie chases where people run for miles from a criminal, never really trying to escape or screaming for help. We then go to a family dinner, where the family of a kidnapped girl are speaking with “government nitwits” about how to get her back. The grandfather suggests contacting fictional characters, especially pulp novel hero, Jake Speed. It then just so happens that an associate of Mr. Speed has convinced him to take their case.

Speed looks like a drunken 1980s college professor and doesn’t even say anything important until he says, “Sometimes you gotta do things the hard way.” “Why?” “It reads better.” Oy, yes this movie is so awful that it is good. It has all what is necessary in a stupid movie — bad dialogue, good actors making bizarre choices and stupid characters making idiotic choices. 

American filmmakers Wayne Crawford and Andrew Lane. share production and writing credits, while the former is the main star and the latter the director. It is a semi-parodic homage to pulp adventure novels.

The synth score by Mark Snow is rather out of place. Director Andrew Lane has little sense of pacing, style or tone. The film is visually unappealing thanks to cinematographer Bryan Loftus’s excessive use of brown that brings out the ugliest aspects of each location.

Crawford isn’t bad at playing the stereotypically cocky hero type but he is an obnoxious character and we are unable to root him on.  Karen Kopins is relentlessly grating and the numerous scenes of Crawford and Kopins’ bickering take up too much screen time and show the lack of any real chemistry between the two. But then, the idea of a paperback hero existing in real life is a neat touch and, occasionally, results in some quite clever pieces of screenwriting. The action scenes are entertaining, especially the finale which features a flight of stairs turning into a slide trap that pulls its hapless victims into a pit of hungry lions.

The main story conceit never works. The gimmick is that Jake and his writer-assistant create a convoluted storyline just for the sake of creating their novels. Nonetheless, I enjoyed the film and will probably watch it many more times. After all, it is all about being entertained and that does not mean that we can’t groan.


  Brand new 2K restoration of the film from the original 35mm interpositive

  High Definition Blu-ray (1080p) presentation

  Original lossless mono audio

  Optional English subtitles for the deaf and hard of hearing

  Paperback Wishes, Cinematic Dreams, a new interview with co-writer/producer/director Andrew Lane

  The Hard Way Reads Better, a new interview with producer William Fay

  Reversible sleeve featuring original and newly commissioned artwork by Graham Humphreys

“SLAUGHTERHOUSE FIVE”— Billy Pilgrim Lives…


Billy Pilgrim Lives…

Amos Lassen

Director George Roy Hill’s “Slaughter Five” stars Michael Sacks as the universal hero Billy Pilgrim, who  unstuck in time, finds himself flitting back and forth through his life, including his time as a prisoner-of-war in Dresden and his abduction by aliens from Tralfamadore.

The story is driven by dark ironies drive this story from the circumstances that surround the death of his wife to the fact that the greatest threat to his life during the war is not the Germans but a fellow American. We move back and forth between two storylines; the incidents surrounding the fire-bombing of Dresden and the story of his life after his return home. We become attached to the many characters we meet including Billy’s wartime friend (Eugene Roche), Eliot Rosewater and Howard Campbell.

Past, present and future collide. It all begins in upstate New York, 1968 when Billy finds himself unstuck in time. He travels back and forth across the entire span of his existence, he experiences key events of his life in a random order, including his formative years, the firebombing of Dresden and finally, at some undefined point in the future, he has surreal adventures on a distant planet.

Historically, Dresden is perhaps the biggest case of aerial bombardment in history: some historians estimate that more people probably died in Dresden than when the atom bomb was dropped on Hiroshima. Dresden was mostly left defenseless to bombardment by the British and Americans towards the end of WWII. Later on, Billy Pilgrim becomes “unstuck in time” (his own words) after being held captive in an intergalactic zoo along with a porn star by aliens.

While Vonnegut’s novel is unable to be filmed yet this film captures its essence. 


  Brand new 4K restoration from the original camera negative, produced by Arrow Video exclusively for this release

  High Definition (1080p) Blu-rayTM presentation

  Original lossless mono audio

  Optional English subtitles for the deaf and hard of hearing

  New audio commentary by author and critic Troy Howarth

  New video appreciation with author and critic Kim Newman

  Pilgrim s Progress: Playing Slaughterhouse-Five, a new video interview with actor Perry King

  Only on Earth: Presenting Slaughterhouse-Five, a new video interview with Rocky Lang, son of executive producer Jennings Lang, about the film s distribution

  Unstuck in Time: Documenting Slaughterhouse-Five, a new video interview with behind-the-scenes filmmaker/producer Robert Crawford, Jr. 

  Eternally Connected: Composing Slaughterhouse-Five, a new video interview with film music historian Daniel Schweiger

  Theatrical trailer

  Reversible sleeve featuring original and newly commissioned artwork by Corey Brickley




Amos Lassen

“RoboCop”, director Paul Verhoeven’s Hollywood debut looks at  the future of law enforcement now comes to us definitive Blu-ray presentation packed with hours of brand new bonus features and exclusive collectible packaging.

Set in the not-too-distant future, a newly-transferred Detroit police officer is transformed into an indestructible cybernetic cop after he is dismembered by a gang of thugs in an abandoned warehouse. Reborn as RoboCop he becomes programmed to serve and protect the citizens of Detroit and eliminate the rampant crime in the city streets in order for a massive city-wide reconstruction project can begin. However,  once he has completed his task, he sets his sights on the corruption inside  the corporation that created him.

The story is really nothing special. Murphy (Paul Weller) after being shot to death by an all-powerful drug gang is subsequently used as the guinea pig for a campaign to create robotic cops launched by an all-powerful corporation, OCP. He is placed in a mechanical body and becomes RoboCop and serves his civil duty until a flash from his memory, helpfully jostled by his ex-partner, Anne (Nancy Allen) sends him on a rampage against the gang, their leader Clarence Boddicker (Kurtwood Smith), and his profit-mongering cronies at OCP.

At first the film was considered to be nothing more than a violent action spectacle with muddled messages, it is now seen as a bold black comedy, a satire on corporate excess and capitalism. The film critiques action films, in the guise of an action film and a wild vision of corporate excess and the extinction of the working class.

The human had become a product who gives a dialectic on the concept of corporate efficiency and humanism. .Colors and textures are all excellent and the clarity of the image is detailed and focused. Verhoeven’s movie is filled with lots of drive and packs a powerful punch-to-the-gut. It is a great B-movie yet not always filmed with total precision. Technically it was pretty much state of the art in 1987. Phil Tippett’s stop-motion animation effects are very impressive as is Rob Bottin’s special makeup. “RoboCop” continues to fascinate over the years.


  4K restoration of the film from the original camera negative by MGM, transferred in 2013 & approved by director Paul Verhoeven

  Newly commissioned artwork by Paul Shipper

  Director’s Cut & Theatrical Cut of the film on two High Definition (1080p) Blu-rayTM discs

  Original lossless stereo & four-channel mixes plus DTS-HD MA 5.1 surround sound option on both cuts

  Optional English subtitles on both cuts

  Six collector’s postcards (Limited Edition exclusive)

  Double-sided, fold-out poster (Limited Edition exclusive)

  Reversible sleeve featuring original & newly commissioned artwork

  Limited edition collector’s booklet featuring new writing on the film by Omar Ahmed, Christopher Griffiths & Henry Blyth, a 1987 Fangoria interview with Rob Bottin, & archive publicity materials (some contents exclusive to Limited Edition 


  Archive commentary by director Paul Verhoeven, executive producer Jon Davison & co-writer Ed Neumeier 

  New commentary by film historian Paul M. Sammon

  New commentary by fans Christopher Griffiths, Gary Smart & Eastwood Allen

  The Future of Law Enforcement: Creating RoboCop, a newly filmed interview with co-writer Michael Miner

  RoboTalk, a newly filmed conversation between co-writer Ed Neumeier & filmmakers David Birke & Nick McCarthy 

  Truth of Character, a newly filmed interview with Nancy Allen

  Casting Old Detroit, a newly filmed interview with casting director Julie Selzer 

  Connecting the Shots, a newly filmed interview with second unit director & frequent Verhoeven collaborator Mark Goldblatt

  Composing RoboCop, a new tribute to composer Basil Poledouris featuring film music experts Jeff Bond, Lukas Kendall, Daniel Schweiger & Robert Townson

  RoboProps, a newly filmed tour of super-fan Julien Dumont’s collection of original props & memorabilia

  2012 Q&A with the Filmmakers, a panel discussion featuring Verhoeven, Davison, Neumeier, Miner, Allen, star Peter Weller & animator Phil Tippett

  RoboCop: Creating a LegendVillains of Old Detroit & Special Effects: Then & Now, three archive featurettes from 2007 featuring interviews with cast & crew

  Four deleted scenes

  The Boardroom: Storyboard with Commentary by Phil Tippett

  Director s Cut Production Footage, raw dailies from the filming of the unrated gore scenes

  Two theatrical trailers & three TV spots

  Extensive image galleries


“DENIAL”— Short and Sweet


Short and Sweet

Amos Lassen

Misti Dawn Garritano (co-director [with Mackenzie Leigh Barmen] and writer),  and Timothy J. Cox are a married couple experiencing another day. In just three minutes we see cute interactions and amusing action. However, what can happen in just three minutes? Let me just say that you will be surprised. I can’t possibly summarize what happens without giving something away. But I can say that if you have ever been involved in a serious relationship, you will be familiar with what happens here.

The unnamed wife calls for John to fix the toilet but she realizes that he is spending quite a bit of time in there causing her to check on him to see what could possibly be taking him so long. The two performances are amazing all around. Cox as John comes across as a husband who will do anything for his wife but there is more below the surface. He and Garritano have great chemistry. They seem like a married couple living in the house that they have always lived in and, of course, we sense immediately that this is comedy. Everything works here and for three minutes, you can lose yourself in “Denial”, albeit for a short time.



“THE MIGHTY KONG”— King Kong for Kids


King Kong for Kids

Amos Lassen

“The Mighty Kong” is an animated, family-targeted, period “King Kong” adaptation. Dudley Moore gives his final performance. He is Carl Denham, a movie director with a nerdy sidekick who’s his cameraman and assistant only the nerdy sidekick, Roscoe (William Sage). They make musicals of wild animals appearing silly but at some point “Mighty Kong” gives up its script.


Carl Denham’s  wild animal Broadway show sure needs a new attraction, so when he learns about an island where these is a giant gorilla seems to be just the thing. So he, his leading lady Ann Darrow (Jodi Benson), his assistant Roscoe and their guide Jack Driscoll (Randy Hamilton) go to Skull Island, where they soon find out the natives aren’t friendly; they kidnap Ann to offer her to their giant gorilla Kong. Kong likes Ann, but doesn’t care for the other members of Denham’s expedition and tries to drive them off the island. Finally, Jack saves Ann and they knock Kong out and bring him to New York City, where he’s to star in Denham’s latest Broadway production. However on opening night, Kong escapes, wreaks havoc to the city, and ultimately grabs Ann and climbs the Empire State Building but naturally is no match for fighter planes, etc.  

The animation is interesting and the film has a sense of charm even with its bad songs  and music and the performances have a lot to be desired.  I was never a fan of the original Kong story so it would have taken a lot to impress me here but it just did not happen. It might have been a lot of fun.

“PINK WALL”— A Relational Dram


A Relational Drama

Amos Lassen

Tom Cullen’s  “Pink Wall” is made up of only six scenes from six years of a relationship, filmed with different aspect ratios to enhance the mood of where the couple is at that moment in time. We keep returning to one of those scenes, the night that Jenna (Tatiana Maslany) and Leon (Jay Duplass) met at a club and went back to his place. The film Cullen captures an immediate intimacy between these two through what feel like largely improvised scenes in which they let their guards down and act both goofy and revealing. Scenes like this are incredibly difficult in romantic dramas since they rely on believable instant chemistry and are often hurt by the fact that the filmmaker likes his characters before he convinces you to like them too. We jump forward to unhappier days in the relationship, but we keep coming back to that night that these two never wanted to end, and that they are likely trying in some ways to recapture for the next six years. 

“Pink Wall” jumps around in time in the other scenes, showing major events over the course of this relationship, ones that reveal Leon and Jenna’s character flaws. She’s controlling; he’s a slacker. In many ways, they don’t seem like a good fit, but he encourages her ambition in a way that helps her succeed, even if it leaves him behind alone in his apartment. Throughout, Duplass and Maslany feel like a real couple. The walls of performer and script disappear and we watch the rise and fall of a relationship, looking into the fights that happen as two people stay together. 

“Pink Wall” looks at the way couples can drift apart and begin to hurt one another in ways. It’s not an anti-love story, but a story about what happens when love alone isn’t enough. The film is mainly interested in depiction, not understanding. The truth is that these are two people who most likely didn’t belong together in the first place, a reality which neither the characters nor the screenplay are always seem willing to face. The movie seems to want to portray a good relationship that goes bad over time, but really it’s about a relationship that never really stood a chance but somehow carried on for six years.

It is the strength of its performances that carries the film and Cullen is good at storytelling.  This is a very intimate film that may just redefine how we should view relationships on screen.  While the film doesn’t really bring anything new to the genre but it’s totally enjoyable.

“WE BELIEVE IN DINOSAURS”— Debunking Evolution


Debunking Evolution

Amos Lassen

“We Believe in Dinosaurs” looks at a huge museum in Kentucky built to recreate Noah’s Ark and debunk the theory of evolution. The massive museum is a kind of theme park version of Noah’s Ark but with an agenda; it is part of a program designed to give truth to the teachings of the Bible. Although incomplete at times, the documentary convincingly explores the big-business connections to fundamentalist religion.

This museum is affiliated with another nearby museum, a Creation Museum that retells more of the Biblical experience for true believers. Directors, Monica Long Ross and Clayton Brown, were able to interview some of the people involved with both museums as well as skeptics who protest the science that accompanies the exhibitions.

The film’s title refers to the attempt to link the museum’s religious manifesto with some facts of science. Since dinosaurs are popular with kids (who are the target audience for these museums), the creators had to find a way to bring  appeal to their messages. They decided to claim that dinosaurs did exist and that they were created at the same time as all other animals (on the sixth day of creation), but were destroyed in Noah’s Flood. The geological evidence of the dinosaurs’ existence is explained by sediment found in the rocks left after the Flood submerged Earth. In this way, there can be audience-friendly exhibits in these Biblical museums alongside of indoctrination.

What we see here is a disturbing trend in contemporary America, but it is only part of the story. We hear from a former creationist who changed his mind and a geologist who tries to debunk the pseudo-science depicted at the museums  but the documentary really needs  a few more scientific voices.

There are disturbing scenes that show children and adults indoctrinated into using catchphrases to defy the scientists. When scientists talk about the history of Earth, children are taught to call out, “Were you there?” In addition to sending a message, the sponsors of these museums want to make money. Over a million people visited the Ark Encounter museum in its first year of operation, but the residents of Williamstown, Kentucky, who hoped to see an economic boom from tourism, were disappointed. The novelty quickly wore off, and stores that were hoping to capitalize on the tourist trade soon found themselves closed.

These details while interesting do not add depth to the subject at hand. It could be that the directors did not feel it necessary to prove the case for science, but an end title reports that 38 percent of Americans believe in creationism suggesting that perhaps a stronger history lesson is needed.

The Ark Encounter museum is built to precisely the dimensions specified in the Bible (510 feet long, 85 feet wide and 51 feet high) and it is intended to promote Creationist ideas in an easily accessible, family-friendly way. However, there are many questions including the use of public funds while the government of this country is supposed to commited to the separation of church and state. Does the museum communicate a message that could save souls, is it a harmless eccentricity or is it a dangerous assault on reason and truth – and, perhaps, part of a much bigger problem?

Those campaigning against the museum and local people who are just trying to do what’s right for their town without getting drawn into lots of complicated political and theological arguments are part of the focus. There are many familiar stories here but also a few surprising ones as we look at the difference between lore presented in scientific terms and back-to-basics scientific method.

Some will find the film disturbing, especially with regard to the propaganda on display, but it deserves credit for making room for everyone involved to be seen as a human being, and the story of what actually happens once the Ark is opened is an interesting one, raising questions about the real motives behind its creation.

What really matters about this film, however, is how it fits into the larger conversation about truth, opinion and fact and how we manage these things in a democracy.

“WORLD OF DARKNESS”— The Shaping of Film, Literature, Fashion, Club Culture, and Fans


The Shaping of Film, Literature, Fashion, Club Culture, and Fans

Amos Lassen

In the early 1990s a game was introduced that caused a change affected many areas of current society. “Vampire: The Masquerade” introduced us to a dark side and it embraced ideas of being a creature of the dark instead of hunting it.

The documentary. “World of Darkness” looks at the game that came from White Wolf Publishing. It starts back at the roots of White Wolf and shares its story up to the present day, some 30 plus years. We look at what it meant to be a player in the early days when roleplaying games were just gaining a place on the fringes of society. “Vampire” influenced the roleplaying game industry and brought about the rise of the narrative and movie further away from a heroic fantasy setting and brought more women into the roleplaying community.

As the film explores the gaming industry and beyond, we see the influences on pop and on modern classic horror films. But there is more to the story than the influences on the media culture. Profiles of the live action events and the players who attend are scattered throughout the movie and we see that the game has influenced many and still continues to be regular entertainment for many people.


There have been troubles along the way for White Wolf and the documentary covers some of that and the film even includes commentary from the founder of the fan club who ended up in court with the company. It also looks at the attempt to become an online gaming presence and the hardships faced as the company had to change directions as entertainment modes changed.

Many of the facts we get here are widely known but this is a celebration of the game and the movement it helped grow. We do not see the company as being perfect but rather through a more holistic approach.

For fans of roleplaying games, this is a movie that will give a better understanding of what is happening with these games and how they have changed, and continue to change. This is a look at the history of the White Wolf company and their historic horror. It not only looks at the games but also at the culture and style that they created.


The film is shot beautifully and lovingly by Giles Alderson, the director, and Andrew Rodger, the cinematographer. All of the makers of the original games discuss their contributions to all of the World of Darkness titles. We see the evolution of the games and the growth of the community. As the film moves forward, we see different larpers getting into costume for their games of Vampire the Masquerade and learn of  the impact of White Wolf games on pop culture.

“THE FAR COUNTRY”— 2-Disc Limited Edition


2-Disc Limited Edition

Amos Lassen

“The Far Country” is one of five superb westerns the screen legend James Stewart (made with acclaimed Hollywood auteur Anthony Mann. It is the story of Jeff Webster (Stewart) and his sidekick Ben Tatum (Walter Brennen): two adventurers driving cattle to market from Wyoming to Canada who meet a corrupt judge (John McIntire) and his henchmen.

This is an epic saga set during the Klondike Gold Rush and it totally captures scenic grandeur in vivid Technicolor. Mann’s direction expertly guides the film into an unorthodox all guns-blazing finale against a gorgeous landscape. In  1896, Webster sees the Klondike gold rush as a chance to make a fortune through beef, so he drives his cattle herd from Wyoming to Seattle, by ship to Skagway, and through the mountains to Dawson City, pursued by villainous Ives (Steve Brodie). On the trail, there’s a bit of a ruckus and delay caused by locking horns with crooked town boss Judge Gannon. Once settled in Dawson, he and his partner Ben Tatum join the gold business too. Webster may be a miserable person, but he’s soon got two lovely women falling for him, bad girl Ronda Castle (Ruth Roman) and good girl Renée Vallon (Corinne Calvet). 

This is a psychological revenge Western from the story and script by Borden Chase. Mann uses themes of the conflict between the individual and society, between free will and anarchy, and the coming to terms of the man with a painful past with his renewed life spirit. The good versus evil theme of most Westerns at that time is thankfully given a more realistic and nuanced look.


  Two presentations of The Far Country in both original aspect ratios of 1.85:1 and 2.00:1

  Brand new 4K restoration from the original film elements by Arrow Films

  Original 1.0 stereo audio

  Optional English subtitles for the deaf and hard of hearing

  Limited edition booklet with new writing on the film by Philip Kemp and original reviews

  Reversible sleeve featuring original and newly commissioned artwork by Graham Humphreys


  High Definition Blu-ray (1080p) presentation of the film in its original aspect ratio of 1.85:1

  New audio commentary by film scholar Adrian Martin

  American Frontiers: Anthony Mann at Universal, an all-new, feature-length documentary with Mann biographer Alan K. Rode, western author C. Courtney Joyner, script supervisor Michael Preece, and critics Michael Schlesinger and Rob Word

  Mann of the West, a newly filmed appraisal of Far Country and the westerns of Anthony Mann by the critic Kim Newman

  Image gallery

  Original trailer DISC TWO 

  High Definition Blu-ray (1080p) presentation of the film in the alternate original aspect ratio of 2.00:1