Run, Man, Run: Limited Edition – Eureka Video (Blu-ray)

Theatrical Release Date: Italy/France, 1968
Director: Sergio Sollima
Writers: Sergio Sollima, Pompeo De Angelis
Cast: Tomas Milian, Donald O'Brien, Linda Veras, Marco Guglielmi, José Torres, Luciano Rossi, Nello Pazzafini, Gianni Rizzo, John Ireland, Chelo Alonso

Release Date: January 23rd, 2023
Approximate running times: 120 Minutes 44 Seconds (Original Uncut Version), 84 Minutes 3 Seconds (Theatrical Cut)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Versions)
Rating: 12 (UK)
Sound: LPCM Mono Italian (Original Uncut Version), LPCM Mono English (Both Versions)
Subtitles: English (Both Versions), English SDH (Original Uncut Version)
Region Coding: Region B
Retail Price: £22.99 (UK)

"After aiding in the escape of a fellow desperado, Cuchillo is given the location for a stash of hidden gold intended to fund the Mexican Revolution. Pursued by mercenaries, bandits, corrupt officials, an American gunslinger, and even his fiancé – Cuchillo will have to use all of his tricks to stay alive." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about the transfers, "A definitive 4K restoration of the original uncut version of the film, with additional colour grading completed exclusively for this release."

"The original theatrical release version of the film, presented in 1080p from a 4K restoration with additional colour grading completed exclusively for this release."

Run, Man, Run original uncut version comes on a 50 GB dual layer Blu-ray.

Disc Size: 41.2 GB

Feature: 35.2 GB

Run, Man, Run theatrical cut comes on a 25 GB single layer Blu-ray.

Disc Size: 23.9 GB

Feature: 23.9 GB

The source used for both versions is in excellent shape. Flesh tones look correct, color saturation is very good, black levels are strong, image clarity and compression are solid, and the image retains an organic look.

Audio: 4.5/5

The original uncut version comes with two audio options, a LPCM mono mix in Italian and a LPCM mono mix in English. Both audio tracks are in great shape, and they’re both billed as restored. Dialog comes through clearly, and everything sounds balanced. Range-wise, I did not notice any difference between these two tracks. Also, ambient sounds and the score are well-represented. Included are removable English subtitles for the Italian language track and removable English SDH subtitles for the English language track.

The theatrical cut comes with one audio option, a LPCM mono mix in English. This track is comparable to the other audio tracks. Included are removable English subtitles that translate the opening theme song, which is in Italian, and signage that is in Italian.

Extras:

Extras on disc one (the original uncut version) include a theatrical trailer (3 minutes 41 seconds, LPCM mono Italian, no subtitles), alternate opening credits (3 minutes 7 seconds, LPCM mono Italian with removable English subtitles), an interview with film scholar Stephen Thrower (18 minutes 42 seconds, LPCM stereo English, no subtitles), and an audio commentary with authors/film critics Barry Forshaw and Kim Newman.

Extras in disc two (the theatrical cut) are limited to an audio commentary with author Howard Hughes and filmmaker Richard Knew.

Other extras include reversible cover art, a double sided poster (limited to 3,000 copies), a slipcover (limited to 3,000 copies), and a thirty-six page booklet (limited to 3,000 copies) cast & crew information, an essay titled Born in the Wind of Knives Sergio Sollima’s Run, Man, Run written by Howard Hughes, an essay titled !Viva Mexico! The Revolution, Zapata-Style written by Howard Hughes, information about the transfer titled Notes on Viewing, and Blu-ray credits.

Summary:

Where Sergio Leone had Clint Eastwood, Sergio Sollima had Tomas Milian (Almost Human). They would collaborate on three spaghetti westerns: The Big Gundown, Face to Face, and Run, Man, Run. Tomas Milian would even portray Manuel "Cuchillo" Sanchez in two of these films.

Though Sergio Sollima had directed four films before he ever directed his first spaghetti western, none of the films that he directed before The Big Gundown had the artistry that would become synonymous with his three spaghetti westerns.

When discussing Run, Man, Run, the main attraction is Tomas Milian, who reprises the role of Manuel "Cuchillo" Sanchez, a character he had previously portrayed in The Big Gundown. It is almost like he had never stepped out of Cuchillo’s shoes, as he never misses a beat, and this time around, he even makes the character more endearing. Run Man Run is clearly Tomas Milian’s show, as he steals just about every scene that he is in. My favorite moment with Cuchillo in Run, Man, Run would have to be the scene when the two French agents tie Cuchillo up to the windmill and torture him. Even in moments of despair like this one, Cuchillo is always able to worm his way out with nothing more than a few cuts and bruises.

Donald O'Brien (Zombie Holocaust) is cast in the role of Nathaniel Cassidy, a retired sheriff who has goals in line with Cuchillo. This character forms a partnership with Cuchillo in a way that is reminiscent of the partnerships The Man With No Name made in The Good, the Bad, and the Ugly. Another performance of note is Luciano Rossi's (Death Walks at Midnight) in the role of an unscrupulous character who has a sadistic streak. Though his screen time is limited, he is always a delight to watch.

Though Run, Man, Run’s score is attributed to Bruno Nicolai, it was actually ghostwritten by Ennio Morricone, with whom Bruno Nicolai frequently collaborated as a conductor for Ennio Morricone’s scores. The score has all the hallmarks that are synonymous with Ennio Morricone’s spaghetti western scores. He delivers another amazing score that elevates the story at hand.

Sergio Sollima goes out in epic fashion with his final spaghetti western, Run Man Run, as each location and action set piece builds on the next right up to the spectacular conclusion. Though politics play a role in "Run, Man, Man," it lacks the depth of Sergio Sollima’s previous film, Face to Face. That said, Run, Man, Run is still a lot of fun. Over the course of his three spaghetti westerns, Sergio Sollima’s direction drastically improves, with his most refined work being Run Man Run. It is a shame that he abandoned the spaghetti western just as he was hitting his stride creatively.

Run, Man, Run gets an excellent release from Eureka Video that comes with a solid audio/video presentation, two versions of the film, and informative extras, highly recommended.

Written by Michael Den Boer