Cruising: Limited Edition – Arrow Video (4k UHD)

Theatrical Release Date: USA, 1980
Director: William Friedkin
Writer: William Friedkin
Cast: Al Pacino, Paul Sorvino, Karen Allen, Richard Cox, Don Scardino, Joe Spinell, Jay Acovone, Randy Jurgensen, Barton Heyman, Gene Davis

Release Date: February 24th, 2025 (UK), February 25th, 2025 (USA)
Approximate Running Time: 101 Minutes 53 Seconds
Aspect Ratio: 1.85:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono English, LPCM Stereo English, DTS-HD 5.1 English
Subtitles: English SDH
Region Coding: Region Free (4K UHD), Region A,B (Blu-ray)
Retail Price: £39.99 (UK), $64.95 (USA)

“New York is caught in the grip of a sadistic serial killer who is preying on the patrons of the city’s underground bars. Captain Edelson tasks young rookie Steve Burns with infiltrating the S&M subculture to try and lure the killer out of the shadows – but as he immerses himself deeper and deeper into the underworld, Steve risks losing his own identity in the process.” – Synopsis provided by the Distributor

Video: 5/5

Here’s the information provided about this release's transfer, "The original 35mm camera negative was scanned in 4K/16 bit at Warner Bros. Motion Picture Imaging. The film was restored in 4K and color graded in HDR10 and Dolby Vision at Silver Salt. All materials sourced for this new master were made available by Warner Bros."

Cruising comes on a 100 GB triple layer 4K UHD.

Disc Size: 88.3 GB

Feature: 72.8 GB

William Friedkin was a filmmaker who revisited his films and often made changes, many of which were controversial, notably the color palette for Cruising’s previous home media releases. For this new release, Arrow Video restores Cruising to its original theatrical presentation. The source looks excellent; flesh tones look healthy, color saturation, image clarity, black levels, and compression are solid, and the image retains an organic look. Also, this release is another exemplary encode from Fidelity in Motion.

Audio: 5/5 (LPCM Mono English), 4.5/5 (LPCM Stereo English, DTS-HD 5.1 English)

This release comes with three audio options, a LPCM mono mix in English, a LPCM stereo mix in English, and a DTS-HD 5.1 mix in English. New to this release is the LPCM mono audio track, while the other two tracks were on Arrow Video’s Blu-ray release. Reportedly, the 5.1 and the stereo audio tracks have added sounds that were not part of the film’s original theatrical release. All of the audio tracks sound clean, clear, balanced, and robust when they should. That said, the mono audio track is the clear winner of these three audio tracks. Included are removable English SDH.

Extras:

Extras on the 4K UHD disc include photo galleries: key art (3 images), musical releases (8 images), Jane Wechsler on-set sketch gallery (9 images), and set items gallery (6 images), promotional items galleries: Argentina (1 image), Australia (9 images), Belgium (2 images), France (19 images), Germany (33 images) Greece (1 image), Ireland (3 images), Indonesia (2 images), Italy (14 images), Japan promotional items (6 images), Japan theatrical program (25 images), Mexico (9 images), Spain (13 images), Thailand (1 image), UK (6 images), USA promotional items (15 images), USA press-kit (25 images), USA presbook (12 images), and Yugoslavia (11 images), TV spot 1 (31 seconds, LPCM mono English, no subtitles), TV spot 2 (34 seconds, LPCM mono English, no subtitles), TV spot 3 (35 seconds, LPCM mono English, no subtitles), TV spot 4 (33 seconds, LPCM mono English, no subtitles), test TV spot 1 (31 seconds, LPCM mono English, no subtitles), test TV spot  (29 seconds, LPCM mono English, no subtitles), test TV spot 3  (33 seconds, no sound), test TV spot 4  (33 seconds, no sound), test TV spot 5 (34 seconds, no sound), TV spot optical tests (2 minutes 35 seconds, LPCM mono), theatrical teaser (1 minute 13 seconds, LPCM mono English, no subtitles), theatrical trailer (3 minutes 29 seconds, LPCM mono English, no subtitles), an archival featurette looking at the film's origins and production tilted The History of Cruising (21 minutes 5 seconds, Dolby Digital stereo English, no subtitles), an archival featurette looking at the controversy surrounding the film and its enduring legacy titled Exorcising Cruising (22 minutes 31 seconds, Dolby Digital stereo English, no subtitles), deleted scenes: Why take the job? (56 seconds, LPCM mono English, no subtitles), Nick Stick (3 minutes 35 seconds, LPCM mono English, no subtitles, audio only footage recreated using illustrations), and Porno room additional footage (2 minutes 40 seconds, LPCM mono English, no subtitles), on-set audio featuring the club scenes and protest coverage: protestors (1 minute 48 seconds, LPCM mono English, no subtitles), club scenes (33 seconds, LPCM mono English, no subtitles), killer’s voice (21 seconds, LPCM mono English, no subtitles), and apartment (1 minute 29 seconds, LPCM mono English, no subtitles), an interview with sound mixer Kim Ornitz titled A Piece of Work (10 minutes 38 seconds, LPCM stereo English, no subtitles), French disclaimer card (59 seconds, no sound), French credit roll (4 minutes 2 seconds, LPCM mono), Spanish disclaimer card (37 seconds, no sound), alternate English end credits (1 minutes 9 seconds, LPCM mono), alternate introduction 2006 restoration (1 minute 9 seconds, LPCM mono), alternate introduction 2018 restoration (1 minute 11 seconds, LPCM mono), alternate introductions comparisons (1 minute 13 seconds, LPCM mono), censored scene reel 02A complete (1 minute 38 seconds, LPCM mono English, no subtitles), censored scene reel 02A comparison (1 minute 42 seconds, LPCM mono English, no subtitles), censored scene reel 03 complete (2 minutes 11 seconds, LPCM mono English, no subtitles), censored scene reel 03 comparison (1 minute 55 seconds, LPCM mono English, no subtitles), an archival audio commentary with director William Friedkin, an archival audio commentary with William Friedkin, moderated by critic and broadcaster Mark Kermode, an audio commentary featuring original musicians involved with the soundtrack; Don Bolles, Kenny Margolis, Louis X. Erlanger, Carole Pope, Madelynn Von Ritz and Shawn Casey O'Brien, and Jonathan Hertzberg (Fun City Editions), and 'Heavy Leather' an alternate musical score by Pentagram Home Video (62 minutes 13 seconds, DTS-HD stereo).

Extras on the Blu-ray disc include Stop the Movie, a short film by Jim Hubbard capturing the Cruising protests (11 minutes 51 seconds, 1.33:1 aspect ratio, no sound with optional audio commentary by Jim Hubbard), Cruising production stills (115 images), a video essay surrounding the hanky-codes featuring actor and writer David McGillivray titled Breaking the Codes (13 minutes 2 seconds, Dolby Digital stereo English, no subtitles), William Friedkin's BeyondFest 2022 Q&A at the American Cinematheque (41 minutes 10 seconds, Dolby Digital stereo English, no subtitles), an archive interview with Wally Wallace, former manager of the Mineshaft titled Mineshaft Memories (33 minutes 41 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Mark Zecca titled Boy on the Bus (37 minutes 30 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Mike Starr titled Pounding the Beat (46 minutes 57 seconds, Dolby Digital stereo English, no subtitles), an interview with actor Jay Acovone titled Who's That Guy? (13 minutes 42 seconds, Dolby Digital stereo English, no subtitles), an interview with editor Bud S. Smith titled Cut Offs (55 minutes, Dolby Digital stereo English, no subtitles), an interview with actor, film consultant, and former police detective Randy Jurgensen titled Walking the Line (71 minutes 13 seconds, Dolby Digital stereo English, no subtitles), and an interview with actress Karen Allen titled I Want to Be the Curator (38 minutes 29 seconds, Dolby Digital stereo English, no subtitles).

Other extras include reversible cover art, a slipcover (limited to the first pressing), a chipboard slipcase (limited to the first pressing), a double sided fold out poster (limited to the first pressing), a 28-page booklet with script pages  (limited to the first pressing), and a 120-page perfect-bound book (limited to the first pressing) with cast & crew information, William Friedkin’s Introduction, an essay titled a Case for Cruising written by John Rechy, an essay titled On Cruising: Why the Village Went Wild written by Richard Goldstein, an essay titled The Hollywood Hustle written by Arthur Bell, an essay titled Film in Focus: Cruising in Confusion written by Andrew Sarris, an essay titled Making Sense of Cruising written by Jason Bailey, Al Pacino in Conversation with Lawrence Grobel, an essay titled How Cruising Received Its “R” Rating written by Aljean Harmetz, an essay titled The Gay Civil War written by Jack Fritscher, When We’re Old We’ll be Rare Reminiscences of John Burke, More From the Extras of Cruising Reminiscences of Ted Heaney, David Loehr, Tony  Allicino, and Rpry Lance, an essay titled Sketching the Scene written by Jane Wechsler, Archive Production Notes, Cruising the Archives: About the Restoration, and About the Presentation.

Summary:

Cruising was written and directed by William Friedkin, whose other notable films include The French Connection, The Exorcist, Sorcerer, To Live and Die in L.A., and Jade.

A police officer goes undercover, trying to lure a serial killer who targets gay men, immersing himself in the underground S&M gay subculture of New York City.

Though all elements are important when it comes to making a film, there’s no denying the role that music plays in cinema. There’s something about music that transcends well-written dialog or striking imagery. Case in point, a film like Cruising, which takes place in gay leather bars that reportedly played disco music. Instead of using music that’s commonly associated with gay leather bars, Cruising chooses music that is on the opposite end of the spectrum. Though one could argue that authenticity is important, Cruising’s decision to use punk rock music instead of disco is an inspired choice. By choosing harder-edged music, this greatly changes the tone of the film with the punk rock music that perfectly complements Cruising’s in-your-face imagery.

Another strength of Cruising is how it never fully commits to who the killer is. There are multiple suspects who look and dress alike. When it comes to the victims, they have a similar look. The killer's spoken nursery rhyme provides tremendous insight into his state of mind. The killer sees themselves as a savior, who’s saving their victims from their own destructive behavior.

One of the more thrilling aspects of cinema is seeing places from a bygone era that no longer exist. And this is most definitely the case with the gay leather bar clubs featured in Cruising. That said, the gay leather bar cubs featured in Cruising are more than just a time capsule into a world that most perspective viewers never experienced or knew that it even existed. These gay leather bar clubs also represent a time before AIDS, when decadent lifestyles reigned supreme.

The most fascinating aspect of cinema is casting. Though many films are burdened by an actor who was picked because they are bankable, there is something to be said about going against the grain. Casting Al Pacino (The Godfather) in the role of the protagonist Steve Burns is an inspired choice. Though Al Pacino is most known for his operatic performances, with Cruising, he delivers what is arguably the most restrained performance of his career.

Al Pacino’s standout moment in Cruising is the scene where he’s in bed with his girlfriend, who informs him that his father called while he was away on an undercover assignment. And his reaction to the news gives the impression that he has a troubled relationship with his father. This scene is further accentuated by this dialog: “There’s a lot about me you don’t know.” His reaction and dialog are clear indications that something more than his undercover assignment are responsible for the transformation he’s going through.

Other standout performances include Paul Sorvino (Goodfellas) in the role of Captain Edelson, the man who gives Steve Burns the undercover assignment, and Don Scardino (Squirm) in the role of Ted Bailey, a gay aspiring playwright who lives next door to John Forbes (Steve Burns undercover alias). Other notable cast members include Karen Allen (Raiders of the Lost Ark) in the role of Steve Burns girlfriend, Gene Davis (10 to Midnight) in the role of a transvestite named DaVinci, and Joe Spinell (Maniac) in the role of a corrupt patrolman named DiSimone.

There’s no shortage of graphic content in Cruising. Though many of the scenes that take place at the gay leather bars leave little for the imagination, none of these moments ever verge into hardcore territory. That said, the most graphic moment being a fisting scene that obscures most of what's happening.

Cruising does not hold back when it comes to the scenes with the killer. The kills are gruesome and have an ample amount of ferocity. Cruising uses subliminal imagery in its kill scenes, juxtaposing brief moments of gay pornography with knife incisions. These subliminal images juxtaposed with the knife penetrating the flesh represent anal entry.

From a production standpoint, Cruising is an extraordinary film that delivers and then some on so many levels. The premise is a superbly realized and well-executed narrative that gives key moments an ample amount of time to resonate. Also, though Cruising has many elements that have become synonymous with thrillers/police procedural films, it is ultimately a film about identity.

Though there’s something that can be said for a film that neatly wraps up everything. Personally, I prefer films that challenge me, instead of directing to a fixed outcome that can only have one conclusion. That said, Cruising is a challenging film that most viewers will find difficult to digest.

Arrow Video revisits Cruising, restores it to its original theatrical presentation, and gives a fully loaded release that comes with a wealth of insightful extras, highly recommended.

Note about the 4K screenshots: It is not possible to make Dolby Vision or HDR10 screenshots that faithfully match the experience of watching a film in motion on a TV. Instead of not having any screenshots, all of the 4K screenshots are m2ts taken with a MPC-HC player and lossless PNGs.

Written by Michael Den Boer