DVD DETAILS:
Vision
The visual transfer is an accomplished anamorphic widescreen as is usual for the Bronson / Thompson films (excepting the fullscreen Death Wish 4). It has a sense of noirish urbanity and a glossy, gritty feel for the city at night with neon lights, glum shadows and many hidden spaces. Contrast is made of women’s roles in what is for the film a reactionary male world – from the stripper to the mad killer to the young woman whose fate lies in the hands of the wronged Patriarch. Thompson’s style of contrasting unsteady camera work with fluid takes works effectively and the use of ominous, unsteady point of view shots also adds tension to the proceedings. It is a technically accomplished and polished thriller, stylish and knowing in its visualization. There is also a fine sense of gender play, ranging from the subtext of the young Wilhoite’s burgeoning sexuality (and sly interest in a Patriarchal father figure as sex object) to the predatory sexuality of Snodgress, who is seen lifting weights in a masculinizing reference. The balance of, and contrast between, masculine and feminine codes of conduct also saturates the film, far more so than most Bronson vehicles (although it would recur in the later film of Kinjite). The final location works is used for a tense climax, making good use of natural architectural spaces, angular compositions and the deployment of stairs and shadows in particular. Compartmentalized frames work to contrast open and closed space.
Sound
The sound transfer is available in Dolby digital mono only but is an effective transfer, flat but with the hint of depth and reasonable fullness in tenser moments. Effects are crisp and the transitions between dominant score segueing into human voices are well rendered for a contrast between diegetic and non-diegetic sound, as is frequently found in Thompson’s work. Indeed, the climactic scenes make stunningly suspenseful use out of the natural sounds of place and conflict, withholding the score until needed just for an added punch. When needed, the score is an action-ful and suspenseful highlight, never overwhelming and well in keeping with the technical polish of this film. The script brings out a fine sense of the sexual tensions underlying male interaction with other males: a kind of sexual provocation and sneery taunting between Bronson and the rival cop and in the depiction of the gangster figure is a good look at the role of humiliation in such expectation of gender conduct. Wilhoite’s creative profanity is turned into a most amusing running gag, suggesting her defiance of Patriarchal authority and the challenge she thus represents to it. Thus, the comic banter between Wilhoite and Bronson as they discover a romantic-paternalistic concern for one another is always engaging and lively. The final use of a crossbow arrow slicing through air is effective in the surrounding aural stillness and foley effects are well pronounced. read more
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