{"id":15866,"date":"2017-04-26T18:58:28","date_gmt":"2017-04-26T22:58:28","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=15866"},"modified":"2017-04-26T19:23:29","modified_gmt":"2017-04-26T23:23:29","slug":"dvd-man-on-fire-1987","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=15866","title":{"rendered":"DVD: Man on Fire (1987)"},"content":{"rendered":"

\"\"Film<\/strong>:\u00a0Very Good<\/p>\n

Transfer<\/strong>: Very Good<\/p>\n

Extras<\/strong>:\u00a0n\/a<\/p>\n

Label:\u00a0<\/strong> KL Studio Classics<\/a> (Kino) \/ Unobstructed View<\/a><\/p>\n

Region:<\/strong>\u00a01 (NTSC)<\/p>\n

Released:<\/strong>\u00a0\u00a0November 15, 2016<\/p>\n

Genre:<\/strong>\u00a0\u00a0Action \/ Suspense<\/p>\n

Synopsis:<\/strong>\u00a0A war vet goes on a vengeance quest and rescue mission when the young teen he was hired to protect by her wealthy parents is abducted by ruthless kidnappers.<\/p>\n

Special Features:<\/strong>\u00a0\u00a0Theatrical Trailer.<\/span><\/p>\n

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Review:<\/strong><\/p>\n

The first filming of A. J. Quinnell\u2019s novel harkens back to 1987, when French director \u00c9lie Chouraqui (O Jerusalem<\/strong>, The Origins of Violence<\/strong>) adapted the tale of a hired gun-tuned-babysitter with Sergio Donati (The Big Gundown<\/a><\/strong>, Holocaust 2000<\/a><\/strong>, Raw Deal<\/strong>). Veteran indie producer Arnon Milchan (The Revenant<\/strong>, L.A. Confidential<\/strong>, TV\u2019s Masada<\/strong>) perhaps ensured the film had more gloss than its otherwise modest budget, with Italian locations in Rome, Milan, and Lombardia conveying the privileged environment of the wealthy parents who lose their daughter to thuggish kidnappers.<\/p>\n

Quinnell\u2019s story\u2019s isn\u2019t complex, but it requires an actor who can add depth to otherwise silent anti-hero Creasy. Scott Glenn had gained some box office prominence in Michael Mann\u2019s infamous The Keep<\/strong> (1983), conveyed humour and empathy in Philip Kaufman\u2019s The Right Stuff<\/strong> (1983), and showed significant athleticism in John Frankenheimer\u2019s Japanese warrior riff The Challenge<\/strong> (1982), so he fits Creasy quite snugly, showing nervousness when the latest gig from special forces pal David (Joe Pesci) initially involves \u2018babysitting\u2019 a young teen, ferrying her from house to school and pre-planned locations to ensure enterprising kidnappers haven\u2019t got a chance.<\/p>\n

Naturally it takes patience, a moment of naked vulnerability, and skill to snatch young Samantha (newcomer Jade Malle) from his safety, and after recuperating from serious wounds from the smash & grab, Creasy takes it upon himself to rescue the girl: like a warrior needing to restore his honor with the otherwise understand family, he gears up and uses his unique skills to track down scumbags, extract information, and exert a little payback in the process.<\/p>\n

Chouraqui isn\u2019t too subtle in suggesting lead kidnapper Conti (Danny Aiello) is a pederast, and he\u2019s surrounded himself with a band of sleazy lieutenants, including Lou Castel (The Cassandra Crossing<\/a><\/strong>, Treasure Island<\/a><\/strong>). Stentorian voiced Paul Shenar is fine as emotionally restrained father Ettore, Brooke Adams has little to do except pout and later restrain welling up fear as American mother Jane, and Jonathan Pryce has a small role as Ettore\u2019s lawyer. The dogged Italian detective annoys and ultimately aids Creasy at key stages in his quest, and Chouraqui\u2019s action scenes are slick, kinetic, but never showy. What genuinely distinguishes this otherwise simple revenge B-flick is the dreamy tone which its director imposes through striking use of colour, dissolves, buoyant camera movements, and very effective slo-mo shots which are neatly punctuated by synth elements from John Scott\u2019s otherwise heavily orchestral score.<\/p>\n

The opening titles and hospital scenes which launch into the film\u2019s flashback structure are gorgeous, especially the long held single shot of a strobing light fixture and slowly human chaos churning below. Cinematographer Gerry Fisher (Brannigan<\/a><\/strong>, Wise Blood<\/strong>, Wolfen<\/a><\/strong>) sticks with a warm, red-brown palette, and frames every shot exquisitely. There\u2019s no shortage of rainy, misty scenes, nor neon colours, and short bursts of graphic violence which are nevertheless hugely conservative compared to Tony Scott\u2019s oversexed 2004 version. Chouraqui\u2019s approach hints trauma through colour, retarded motion, and superb stereo surround design, but the real glue that ensures the odd friendship between pre-teen Samantha and Creasy is John Scott\u2019s main theme. Lush, a little romantic, and unbridled in its melodrama, it helps shore up a father-daughter friendship which the script\u2019s dialogue fails to convincingly build, and even if it gets a bit heavy-handed through repetition, it\u2019s the musical echo of Creasy\u2019s drive which pushes him repeatedly to risk his life for a kid destined for an ignominious death. (Fans of Die Hard <\/strong>might also recognize the main theme, which was tracked into the finale in which Jon McClane sees Holly among the street chaos before Karl rears up like a Frankenstein monster.)<\/p>\n

Creasy\u2019s also too wrapped up with PTSD from his prior escapades to realize he\u2019s being used by the police to find the girl, essentially doing their work after they convinced Ettore to hold back on any ransom because they will kill Samantha nonetheless.<\/p>\n

For it\u2019s flaws in inferring more than actually explaining and developing (the PTSD of buddy David comes up in a weird wedding scene, and is forgotten soon after), Man on Fire<\/strong> is briskly paced, with a final act that\u2019s just about the hunt for scumbags and saving a girl \u2013 pure B-movie fodder.<\/p>\n

KINO\u2019s DVD and Blu-ray sport a proper, clean widescreen transfer, and great stereo surround sound. Pity the discs are short on extras, because an audio commentary could\u2019ve explained Chouraqui and Scottt’ attraction to the novel, and offered info on the lesser-known director, whose other best-known English language film is Harrison\u2019s Flowers<\/strong> (2000).<\/p>\n

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\u00a9 2017 Mark R. Hasan<\/p>\n

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External References:<\/strong>
\nEditor’s Blog<\/a> — IMDB<\/a> \u00a0— \u00a0Soundtrack Album<\/a> —\u00a0Composer Filmography<\/a>
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\nVendor Search Links:<\/strong>
\nAmazon.ca<\/a>\"\" \"\" —\u00a0<\/span> Amazon.com<\/a>\"\" \"\" —\u00a0<\/span> Amazon.co.uk<\/a><\/p>\n

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