THE DON IS DEAD / CROSSED SWORDS - Kino Lorber Reviews

[AndyDursin]

THE DON IS DEAD
7/10
CROSSED SWORDS
7/10

As a kid back in the '80s my main exposure to director Richard Fleischer came through the likes of "Conan the Destroyer," "Red Sonja" and the Glad trash bag infomercial, "Million Dollar Mystery." For that reason, it's understandable I grew up not being overly excited by seeing Fleischer's name attached to a movie, but over the last decade or two, I've been exposed to the director's larger, earlier body of work, which counts a number of fascinating and very entertaining works across a wide variety of genres. Two of those pictures are new to Blu-Ray this month from Kino Lorber, premiering in high-definition for the first time, and are each worthy of discovery.

Case in point is THE DON IS DEAD (115 mins., 1973, R), a post-"Godfather" mafia saga released at a point when interest in all things mob-related were at a cultural high. Predictably, Fleischer's filming of a book by Marvin H. Albert (scripted by the author) offers a lot less poetry – both the narrative and visual kind – than Francis Ford Coppola's Oscar winner, yet there's still sufficient action to be found in this tale of rival mob bosses jockeying for position after the death of one of their patriarchs.

Anthony Quinn essays the veteran Don Angelo, who offers to take the young, inexperienced son (Robert Forster) of the deceased Don under his wing -- not knowing that the girl (Angel Tompkins) he's just become acquainted with is also Forster's aspiring-singer girlfriend. That sets off a turf war between Quinn and his minions and Forster's goons, anchored by a pair of brothers (Al Lettieri, Frederic Forrest) caught up in allegiances between them all.

This Hal Wallis production tapped Marvin H. Albert to adapt his book for what turns out to be a plainly delivered, matter-of-fact early '70s thriller that, with its non-anamorphic framing, could nearly be mistaken for an R-rated TV movie. The performances from Quinn to the young Forrest and Forster on down are all capable, but there's a definite lack of emotion in this movie – Fleischer delivers the story's “meat and potatoes,” but it's easy to see how a more “cinematic” approach could've heightened the character-driven tension and power of the material. (How about a Scorsese-helmed remake?)

That's not to say “The Don Is Dead” isn't effective on its own terms – the “just the facts” storytelling results in a fast-moving narrative that's never dull, and the bursts of action and accompanying slaughter in the concluding third are all proficiently staged by Fleischer. Jerry Goldsmith, meanwhile, delivers a capable if unmemorable dramatic underscore – very much in keeping with the virtues of the film itself.

Kino Lorber's Blu-Ray includes a high bit-rate 1080p (1.85) Universal catalog master that looks to be on the more contemporary side, boasting fine detail and warm colors. The mono sound is healthy and a commentary from critic Sergio Mims rounds out the package.

After directing one of Charles Bronson's better outings, "Mr. Majestyk," the western "The Spikes Gang," controversial slave drama "Mandingo" and the Sarah Bernhardt biopic "The Incredible Sarah," Fleischer was tapped by producer Alexander Salkind to helm CROSSED SWORDS (108 mins., 1977, PG).

This is a lavish adaptation of “The Prince and the Paper” that marks a reunion of several key participants in Salkind's "Three Musketeers" pictures, including cast members Oliver Reed, Raquel Welch, and Charlton Heston, plus screenwriter George Macdonald Fraser. Though not a classic, “Crossed Swords” still makes for solid family entertainment, with "Oliver" star Mark Lester a little too old but nevertheless effective playing dual roles in an engaging adaptation of Mark Twain's story. As you would expect with a Salkind effort, the production is top-notch, with evocative sets and costumes, superb cinematography by Jack Cardiff, and a rousing (if occasionally obnoxious) score by Maurice Jarre adding immeasurably to the fun.

"Crossed Swords" played a bit too leisurely in its original 121-minute European release version, leading Warner Bros., its U.S. distributor, to cut some 13 minutes for its domestic release in March 1978. It's this shorter version that comprises the 4K remastered transfer (2.35) in Kino Lorber's Blu-Ray, sourced from a print with Saul Bass' Warner Communications logo intact and full stereo sound. It's a great looking new transfer, with the 121-minute European version -- which was previously released on DVD by both Anchor Bay and Lionsgate -- included as an extra, albeit in standard-definition and mono.

Extras include a recent interview with Mark Lester, fondly recalling the shoot and working with an array of major stars (George C. Scott, Ernest Borgnine, and Rex Harrison are also counted among the all-star cast), the trailer, and a new commentary with frequent KL contributors Howard S. Berger, Steve Mitchell and Nathaniel Thompson.