The Tough Ones: Deluxe Collectors Edition – 88 Films (Blu-ray)

Theatrical Release Date: Italy, 1976
Director: Umberto Lenzi
Writers: Umberto Lenzi, Dardano Sacchetti
Cast: Maurizio Merli, Tomas Milian, Arthur Kennedy, Giampiero Albertini, Ivan Rassimov, Biagio Pelligra, Aldo Barberito, Stefano Patrizi, Luciano Pigozzi, Maria Rosaria Omaggio, Gabriella Lepori, Maria Rosaria Riuzzi, Corrado Solari

Release Date: August 30th, 2021
Approximate running time: 93 Minutes 53 Seconds
Aspect Ratio: 2.40:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: 18 (UK)
Sound: DTS-HD Mono English, DTS-HD Mono Italian
Subtitles: English (For Italian Language, Italian Text)
Region Coding: Region B
Retail Price: OOP

"Maurizio Meril stars as an Italian DIRTY HARRY, punching and shooting his way through the sleazy drug, sex and crime infested cesspool of mid-'70s Rome, on the trail of a sadistic, machine gun-toting hunchback, played by Tomas Milian (THE BIG GUNDOWN)." - synopsis provided by the distributor

Video: 5/5 (The Tough Ones), 3.5/5 (Brutal Justice)

Here’s the information provided about this release's transfer, "4K transfer".

The Tough Ones comes on a 50 GB dual layer Blu-ray.

Disc Size: 44.5 GB

Feature: 25.5 GB

The transfer for this release is on par with Grindhouse Releasing’s 2019 Blu-ray, which is not surprising since both releases appear to use the same 4K source.

Brutal Justice comes on a 50 GB dual layer Blu-ray.

Disc Size: 27 GB

Feature: 19.4 GB

The source for Brutal Justice is labeled "Grindhouse Version". There is source-related damage throughout that is minimal and never intrusive. That said, image clarity is strong, colors fare well, and black levels are adequate.

Audio: 5/5 (DTS-HD Mono Italian, DTS-HD Mono English)

The Tough Ones comes with two audio options, a DTS-HD mono mix in English and a DTS-HD mono mix in Italian. Both the audio tracks are in great shape; the dialog comes through clearly, everything sounds balanced, the ambient sounds and the score are well-represented. Range-wise, the Italian language track sounds more robust than the English language track. There are English subtitles for the Italian language track and English subtitles for the Italian language text.

Brutal Justice comes with one audio option, a DTS-HD mono mix in English. Though the dialog comes through clearly, there are some minor sibilance-related issues and a few audio imperfections that are fortunately minor.

Extras:

Extras in disc one include a theatrical trailer (3 minutes 29 seconds, Dolby Digital mono English, no subtitles), alternate Italian credits sequence (3 minutes 29 seconds, Dolby Digital mono), an interview with actor Corrado Solari titled Standing Out (17 minutes 46 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with composer Franco Micalizzi titled Funk and Violence (26 minutes 57 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with actress Maria Rosario Omaggio titled Men of Violence (20 minutes 11 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with Maurizio Matteo Merli son of actor Maurizio Merli titled A Family Affair (25 minutes 9 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with stuntman Ottaviano Dell’Acqua titled Fast and Furious (11 minutes 52 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with composer Roberto Donati titled Budy’s Story (10 minutes 4 seconds, Dolby Digital stereo Italian with removable English subtitles), an interview with director Umberto Lenzi composer Roberto Donati titled Armed to the Teeth (30 minutes 55 seconds, Dolby Digital stereo Italian with removable English subtitles), an archival audio commentary with Mike Malloy, director of Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s, and an audio commentary with film critic Kim Newman and filmmaker Sean Hogan.

Extras on disc two include Aquarius Releasing-An Appreciation: By Mike Malloy (29 minutes 1 second, Dolby Digital stereo English, no subtitles), and an alternate version of The Tough Ones released in the US under the title Brutal Justice (82 minutes 57 seconds, DTS-HD mono English, no subtitles).

Besides being about eleven minutes shorter, Brutal Justice also features obvious English language insert shots, and the main theme has added gunshots and explosion effects.

Other extras include reversible cover art, A3 fold-out poster, and a forty-page booklet with an interview with Umberto Lenzi by Eugenio Ercolani.

Summary:

When discussing Italian genre cinema of the 1970’s, there’s no denying the importance that film scores played. Italian genre cinema has had a long history of creating memorable film scores that perfectly reinforce the mood of what’s unfolding onscreen. It should also come as no surprise that music plays such an important role in Italian genre cinema, given that the majority of the dialogue was recorded in post-production. With that being said, one could easily argue that composers’ contributions to 1970’s Italian genre cinema were on par with directors’ contributions. A case in point, Franco Micalizzi’s extraordinary The Tough Ones score does a superb job of capturing the immediacy of Inspector Tanzi’s mission to free the streets of criminals.

Throughout the 1950’s, 1960’s, 1970’s and 1980’s, Italian genre cinema inspired American cinema. And, despite the fact that the Italian westerns lasted longer than most genre cycles in Italian,By the early 1970's, American crime films like Dirty Harry and Death Wish would inspire a new Italian genre, Poliziotteschi (Italian crime films).

However, there’s no denying that American cinema may have influenced Poliziotteschi. It’s ultimately the elements that are inherently Italian that make this genre stand out from your typical clone. And in the case of Poliziotteschi cinema, at their core, they were a reflection of what was going on in Italy in the 1970’s. Another strength of Poliziotteschi's cinema is how most of these films return to elements that originated with Italian Neorealism cinema. By returning to their Italian Neorealism roots, this adds a leave of authenticity to Poliziotteschi's cinema.

From a production standpoint, The Tough Ones is a finely tuned machine that, like fine wine, gets better with more viewings. The premise of a society that’s in chaos because the laws harm law-abiding citizens by shielding criminals is superbly realized. And though some films can be seen as forward-thinking, It’s chilling how much the world of The Tough Ones represents the world we now live in. The more things change, the more they stay.

Content-wise, The Tough Ones has all the elements that have become synonymous with Poliziotteschi cinema. A hard-boiled protagonist who’s forced to work outside of the law to get results, a rogue’s gallery of colorful villains, thrilling action set pieces, and an unflinching depiction of the carnage.

The cast members all give excellent performances in their respective roles, particularly Tomas Milian's scene-stealing portrayal of a hunchback named Vincenzo Moretto. And what makes his performance all the more potent is how he initially portrays Vincenzo as a weakling who evokes sympathy before turning into a confident, cold-blooded killer.

Another performance of note is that of Maurizio Merli (Convoy Busters) in the role of this film’s protagonist, Inspector Tanzi. However, he delivers a one-note performance of a character with a one-track mind. This actually works in this film’s favor.

Other notable cast members include Arthur Kennedy (Lawrence of Arabia) in the role of Tanzi’s boss, Superintendent Ruini, Ivan Rassimov (Spasmo) in the role of a pimp named Tony Parenzo who gets his women hooked on heroin, and Maria Rosaria Omaggio (The Cop in Blue Jeans) in the role of Tanzi’s leftist girlfriend who works as a social worker.

Standout moments include a scene where Anna gets abducted by criminals who want to silence Tanzi. And to prove they mean business, they retrain her in a car that’s been placed in a junk-yard compactor. A scene where five young men who come from affluent families terrorize a couple making out in their car. After they trap the boyfriend in the car’s trunk, they then take turns raping the woman. With the scene ending with a very long and large stick, And a scene where the only thing preventing bank robbers from killing their hostages is Inspector Tanzi, who uses air ducks to enter the bank. These three moments are examples of Umberto Lenzi’s knack for creating tense, unsettling moments.

Though, there is a lot of crossover when it comes to the extra participants. These interviews are not the same as the interviews from Grindhouse Releasing’s 2019 Blu-ray. That said, these new extras cover a lot of the same topics as the old. With the only extra on both releases being Mike Malloy’s audio commentary. Also, the 88 Films Blu-ray release comes with a pair of extras exclusive to its release: Aquarius Releasing-An Appreciation By Mike Malloy and an alternate version of The Tough Ones titled Brutal Justice. When it comes to packaging, audio, and video, Grindhouse Releasing and 88 Films Blu-ray releases are must-have purchases if you're a fan of The Tough Ones.

The Tough Ones gets an exceptional release from 88 Films, highly recommended.

Note: Limited edition - 2000 Units Only.

Written by Michael Den Boer

Gore in Venice – Full Moon Features (Blu-ray)

Theatrical Release Date: Italy, 1979
Director: Mario Landi
Writer: Aldo Serio
Cast: Leonora Fani, Jeff Blynn, Gianni Dei, Michele Renzullo, Eolo Capritti, Vassili Karis, Giancarlo Del Duca, Mariangela Giordano

Release Date: June 7th, 2022
Approximate Running Time: 98 Minutes 44 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: Dolby Digital 5.1 Italian, Dolby Digital Mono Italian
Subtitles: English (Non-Removable)
Region Coding: Region Free
Retail Price: $21.95

"Gore in Venice follows the plight of Inspector Angelo De Paul (Jeff Blynn, Weapons of Death), a cop assigned to investigate a horrifying series of murders that have gripped Venice and left the authorities baffled. As the bodies mount, De Paul gets sucked deeper and deeper into a sleazy mystery leading to a startling conclusion." - synopsis provided by the distributor

Video: 3.5/5

Here’s the information provided about this release's transfer, "presented here totally uncut and remastered from the best available materials."

Gore in Venice comes on a 25 GB single layer Blu-ray.

Disc Size: 20.6 GB

Feature: 19.2 GB

The source used for this transfer has source-related damage that varies in degree throughout, and there are a few moments where the source is heavy. That said, the image generally looks crisp, colors fare well, and black levels are adequate. Though the source has its limitations, it appears to be the same source that X-Rated Kult used for their 2016 German Blu-ray and Scorpion Releasing used for their 2018 Blu-ray, albeit without the additional color correction for the latter.

Audio: 3.5/5 (Dolby Digital Mono Italian), 3.25/5 (Dolby Digital 5.1 Italian)

This release comes with two audio options, a Dolby Digital 5.1 mix in English and a Dolby Digital mono mix in English. The mono audio mix is in good shape, and any audio imperfections are kept to a minimum. Dialog comes through clearly, and though things are limited range-wise, ambient sounds are well-represented. The 5.1 audio mix is just a more spread out version of its mono counterpart that offers a miniscule difference. Included with this release are non-removable English subtitles.

Extras:

Extras for this release include trailers Barb Wire Dolls, Naked Girl Murdered in the Park, Love Letters of a Portuguese Nun, Sexy Sisters, Voodoo Passion and Women in Cellblock 9. 

Summary:

Gore in Venice has all the ingredients that have since become synonymous with Italian thrillers. And yet, the end result is a film that verges on a parody of Italian thrillers. And nowhere is this more evident than when it comes to the lead detective assigned to the double homicide that opens the film.

Quirks and other unintended moments of humor aside, when it comes to Gore in Venice’s murder set pieces, they are mean-spirited and sufficiently gory. The deaths embraced a sharp object in a woman’s vagina, a man burned alive, and limb dismemberment.

The characters are one-dimensional caricatures, and the performances are best described as enthusiastic. This film’s most entertaining performance was by Jeff Blynn in the role of Inspector Angelo De Pol. He delivers an absurd performance where his character is constantly playing with and eating eggs. Notable cast members include Leonora Fani (The Private Lesson) in the role of Flavia; it is her and her husband’s death that lays the foundation for the events that unfold; and Mariangela Giordano (Burial Ground: The Nights of Terror) in the role of a promiscuous woman named Marzia.

Not to be overlooked, when discussing Gore in Venice, is its ample amount of sleaze. With its sex scenes, it pushes the boundaries of soft-core cinema. And though sex has always played a role in Italian thrillers, it is safe to say that few Italian thrillers are sleazier than Gore in Venice.

Gore in Venice makes its way to Blu-ray via a serviceable release that leaves room for improvement.

Written by Michael Den Boer

Daughters of Darkness: 4K Remaster – Blue Underground (4k UHD/Blu-ray/CD Combo)

Theatrical Release Date: Belgium/France/West Germany, 1971
Director: Harry Kümel
Writers: Pierre Drouot, Harry Kümel, Jean Ferry, Manfred R. Köhler
Cast: Delphine Seyrig, John Karlen, Danielle Ouimet, Andrea Rau, Paul Esser, Georges Jamin, Joris Collet, Fons Rademakers

Release Date: October 27th, 2020
Approximate Running Time: 100 minutes 7 Seconds
Aspect Ratio: 1.66:1 Widescreen / 2160 Progressive / HEVC / H.265 / Dolby Vision HDR10
Rating: NR
Sound: Dolby Atmos English, DTS-HD 5.1 English, DTS-HD Mono English, DTS-HD Mono French
Subtitles: English SDH, French, Spanish, English for French language track
Region Coding: Region Free
Retail Price: $59.95

"International screen icon Delphine Seyrig (LAST YEAR AT MARIENBAD) stars as Elizabeth Bathory, an ageless Countess with a beautiful young 'companion' (Goth goddess Andrea Rau) and a legendary legacy of perversion. But when the two women seduce a troubled newlywed couple (Canadian beauty Danielle Ouimet and John Karlen of DARK SHADOWS and CAGNEY & LACEY), they unleash a frenzy of sudden violence and depraved desire that shocked both art house audiences and grindhouse crowds worldwide." - synopsis provided by the distributor

Video: 5/5 (4K UHD), 4.5/5 (Blu-ray)

Here’s the information provided about the transfer, "scanned in 4K 16-bit from its long-lost original 35mm camera negative, with Dolby Vision HDR."

Daughters of Darkness comes on a 100 GB triple layer 4K UHD.

Disc Size: 91.6 GB

Feature: 67.2 GB

Daughters of Darkness comes on a 50 GB dual layer Blu-ray.

Disc Size: 35.8 GB

Feature: 23.4 GB

This is another stunning restoration from Blue Underground that’s a massive upgrade from this film’s previous home video releases. Colors look vibrant and correct, image clarity and black levels look solid throughout. There are no issues with compression and the grain retains a filmic look. Needless to say, even if you have seen Daughters of Darkness before, this new transfer will be like watching the film for the very first time.

Audio: 5/5 (Dolby Atmos)

This release comes with four audio mixes, a Dolby Atmos mix in English; a DTS-HD 5.1 mix in English; a DTS-HD Mono mix in English; and a DTS-HD Mono mix in French. The DTS-HD mono English and DTS-HD mono French tracks are carried over from Blue Underground’s 2011 Blu-ray release. The new audio tracks are the Dolby Atmos English and DTS-HD 5.1 English tracks. For this review, we listened to the Dolby Atmos track. Dialog comes through clearly, everything sounds balanced, ambient sounds are well-represented, and the score sounds robust. The Dolby Atmos track is an exemplary mix that does a superb job of maximizing the sound spectrum. Included with this release are the following subtitle options: English SDH, French, Spanish, and English for the French language track.

Extras:

Extras on the 4K UHD include an image gallery (115 images – stills/lobby cards/posters/home video & soundtrack art/other promotional materials), alternate U.S. opening title sequence (1 minute 56 seconds, Dolby Digital mono), four radio spots (30 seconds each, Dolby Digital mono English, no subtitles), U.S. theatrical trailer (2 minutes 11 seconds, Dolby Digital mono English, no subtitles), French trailer for the film (1 minute 43 seconds, Dolby Digital mono French with removable English subtitles), International trailer under the title Promise of Red Lips (3 minutes 56 seconds, Dolby Digital mono English, no subtitles), an archival interview with actress Andrea Rau titled Daughter of Darkness (7 minutes 57 seconds, Dolby Digital stereo German with removable English subtitles), an archival interview with actress Danielle Ouimet titled Playing the Victim (15 minutes 31 seconds, Dolby Digital stereo English, no subtitles), an archival interview with director Harry Kümel and producer Pierre Drouot titled Locations of Darkness (21 minutes 37 seconds, Dolby Digital stereo English. No subtitles), an archival audio commentary with Harry Kümel and moderated by David Gregory, an archival audio commentary actor John Karlen and journalist David Del Valle, and an audio commentary with Kat Ellinger, author of Devil’s Advocates: Daughters of Darkness.

Extras on the Blu-ray include an image gallery (115 images – stills/lobby cards/posters/home video & soundtrack art/other promotional materials), alternate U.S. opening title sequence (1 minute 56 seconds, Dolby Digital mono), four radio spots (30 seconds each, Dolby Digital mono English, no subtitles), U.S. theatrical trailer (2 minutes 11 seconds, Dolby Digital mono English, no subtitles), French trailer for the film (1 minute 43 seconds, Dolby Digital mono French with removable English subtitles), International trailer under the title Promise of Red Lips (3 minutes 56 seconds, Dolby Digital mono English, no subtitles), an archival interview with actress Andrea Rau titled Daughter of Darkness (7 minutes 57 seconds, Dolby Digital stereo German with removable English subtitles), an archival interview with actress Danielle Ouimet titled Playing the Victim (15 minutes 31 seconds, Dolby Digital stereo English, no subtitles), an archival interview with director Harry Kümel and producer Pierre Drouot titled Locations of Darkness (21 minutes 37 seconds, Dolby Digital stereo English. No subtitles), an archival audio commentary with Harry Kümel and moderated by David Gregory, an archival audio commentary actor John Karlen and journalist David Del Valle, and an audio commentary with Kat Ellinger, author of Devil’s Advocates: Daughters of Darkness.

Other extras include a limited-edition Lenticular 3D slipcover, reversible cover art, a CD that contains the score for the film, and a 22-page booklet with cast and crew info, a lengthy essay about the film titled Daughters of Darkness: A Family History written by Michael Gingold, and information about the CD that contains the film’s score and bonus tracks.

Included with this release is a Blu-ray that contains Daughters of Darkness and all of the extras.

Summary:

A countess befriends a newlywed couple honeymooning at a seaside resort.

Although vampires have long been a staple of cinema since its early days, outside of a few exceptions like Vampyr and Blood and Roses, most vampire films are populated by male vampires. Then, starting in the late 1960s and throughout the 1970s, there was an influx of female vampire films. Vampyros Lesbos, The Blood Spattered Bride, Jean Rollin’s The Rape of the Vampire, The Nude Vampire, The Shiver of the Vampires, Requiem for a Vampire, and Daughter of Darkness are notable films from this era.

Content-wise, Daughters of Darkness draws inspiration from Elizabeth Báthory, a countess infamous for torturing and murdering hundreds of young girls and allegedly bathing in their blood. The film ultimately transcends its source material, resulting in one of cinema's most unique vampire narratives.

The look of the film is important when discussing Daughters of Darkness. Every inch of every frame is exquisitely composed for maximum effect. Another area where the visuals excel is their use of color, specifically red and blue. François de Roubaix’s hypnotic score enhances the film's atmosphere. Daughters of Darkness was among my first introductions to European cult cinema, and with each revisit, my appreciation for this extraordinary film deepens.

When it comes to the performances, the entire cast are excellent, especially Delphine Seyrig’s (Last Year at Marienbad) ethereal portrayal of Countess Bathory. She delivers a mesmerizing performance that dominates the screen and elevates everyone around her. Another performance of note is Andrea Rau (It's nothing, Mama, just a game) in the role of Countess Bathory’s faithful servant, Ilona.

While Harry Kümel approached Daughters of Darkness with the intention of creating a commercial film infused with exploitation elements, it becomes clear throughout that this film transcends being merely a work-for-hire. The well-constructed narrative takes familiar things and makes them its own, and it does a phenomenal job building momentum to an exemplary finale. Another strength of Daughters of Darkness is how it strays away from most vampire cinema’s staples. Ultimately, Daughters of Darkness is an extraordinary film in which everything perfectly falls into place.

Daughters of Darkness makes its way to 4K UHD via an exceptional release from Blue Underground that comes with a solid audio/video presentation and an abundance 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 VLC player and lossless PNGs.

Written by Michael Den Boer

Ophélia – Olive Films (Blu-ray)

Theatrical Release Date: France, 1963
Director: Claude Chabrol
Writers: Claude Chabrol, Paul Gégauff
Cast: Alida Valli, Claude Cerval, André Jocelyn, Juliette Mayniel, Robert Burnier, Jean-Louis Maury, Sacha Briquet

Release Date: April 25th, 2017
Approximate Running Time: 103 Minutes 52 Seconds
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono French
Subtitles: English
Region Coding: Region A
Retail Price: OOP

"Ivan (Andre Jocelyn), a high-strung and intense young man of means, suspecting that his mother, Claudia (Alida Valli) and uncle Adrian (Claude Cerval) are responsible for the death of his father, sets out to reveal their foul deed." - synopsis provided by the distributor

Video: 4.25/5

Ophélia comes on a 25 GB single layer Blu-ray.

Disc Size: 22.8 GB

Feature: 22 GB

The source used for this transfer looks excellent. Image clarity and contrast are solid; black levels fare well; and the image retains an organic look.

Audio: 4.25/5

This release comes with one audio option, a DTS-HD mono mix in French, and included with this release are removable English subtitles. The audio sounds clean, clear, and balanced.

Extras:

Extras for this release include a theatrical trailer (3 minutes 40 seconds, DTS-HD mono mix in French, no subtitles).

Summary:

Though he’s not credited to William Shakespeare, Ophélia’s narrative is similar to that of his play Hamlet. That said, the result is a film that’s best described as a loose adaptation of Hamlet. Another connection to Hamlet is a scene where the protagonist walks by a poster for Laurence Olivier's adaptation of Hamlet.

Ophélia is not a thriller, the genre for which Claude Chabrol is best known. And yet, there are many elements in Ophélia that are synonymous with the thriller genre. Also, there are elements in Ophélia that Claude Chabrol would return to throughout his career. Most notably, stories related to the bourgeoisie.

Ophélia's narrative revolves around a young man named Yvan, who feels his father's death was not an accident. In fact, he blames his mother, her new husband, and his uncle for his father's death.

The cast delivers excellent performances, particularly André Jocelyn (A Double Tour) in the role of Yvan. He delivers a solid performance that perfectly captures his character's mental instability. Another performance of note is Alida Valli (The Third Man) in the role of Yvan’s mother.

From a production standpoint, Ophélia is an interesting adaptation that is arguably Claude Chabrol’s strangest film. And though there is symbolic imagery, Ophélia's visuals do a great job of letting the performances take center stage. Ultimately, Ophélia is a well-made melodrama that fans of Claude Chabrol are sure to appreciate.

Ophélia makes its way to Blu-ray via a solid audio/video presentation from Olive Films.

Written by Michael Den Boer

The Third Lover – Kino Lorber (Blu-ray)

Theatrical Release Date: France/Italy, 1962
Director: Claude Chabrol
Writers: Claude Chabrol, Martial Matthieu, Paul Gégauff
Cast: Jacques Charrier, Stéphane Audran, Walther Reyer

Release Date: February 25th, 2020
Approximate Running Time: 80 Minutes
Aspect Ratio: 1.66:1 Widescreen / 1080 Progressive / MPEG-4 AVC
Rating: NR
Sound: DTS-HD Mono French/German/English
Subtitles: English
Region Coding: Region A
Retail Price: $29.95

"André Mercier, is a failed, embittered writer, working under the pen name Albin Mercier. On a journalism gig in Germany, his path crosses with that of Andreas Hartmann, another writer, who's managed to make a living for himself. The successful Andreas is married to Hélène, a beautiful Frenchwoman, who quickly becomes the apple of Mercier's eye. While Andreas is off on a business trip, Mercier tries to seduce Hélène to make her his lover and, eventually, take over Andreas' life." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about this release's transfer, "Brand New 4K Restoration".

The Third Lover comes on a 50 GB dual layer Blu-ray.

Disc Size: 25.8 GB

Feature: 23.3 GB

The source used for this transfer is in immaculate shape. Image clarity, shadow detail, and contrast are solid, and the grain looks organic.

Audio: 4.5/5

This release comes with one audio option, a DTS-HD mono mix in French, German, and English, and included with this release are removable English subtitles. The audio is in excellent shape; the dialog is always clear and everything sounds balanced. It should be noted that there is some dialog in both German and English, and these lines of dialog are not given English subtitles.

Extras:

Extras for this release include an audio commentary with film historian Kat Ellinger.

Other extras are trailers for The Champagne Murders, Touchez pas au grisbi, Bob le flambeur, and Léon Morin, Priest.

Summary:

I had seen most of Claude Chabrol’s films from his most celebrated era (1968–1975) before I ever saw his earliest films, like The Third Lover. I was not prepared for how drastically different The Third Lover is when compared to the suspense films that Claude Chabrol is most associated with.

From its opening moments, it becomes clear that The Third Lover is a film that's more concerned with mood and style than it is with conventional storytelling. The narrative revolves around a protagonist and his relationship with a couple, a husband and a wife. From there, the protagonist becomes fond of the wife, and when his attempt to seduce her fails, he then becomes convinced that she’s having an affair, and he then searches for her lover, the third lover.

What starts off as a story about three characters just enjoying each other's company. Then it becomes a story about unrequited love that evolves into a tale about obsession, which culminates with an act of betrayal that turns deadly.

Though there are peripheral characters, the main cast is essentially three characters; Jacques Charrier (Pigeon Shoot) in the role of a protagonist named Albin Mercier; Stéphane Audran (The Champagne Murders) in the role of Hélène, the wife; and Walther Reyer (The Indian Tomb) in the role of Andreas Hartman, the husband. All three of these actors are great in their respective roles. 

From a production standpoint, The Third Lover is a film that takes full advantage of its minimalism. Its basic narrative is briskly paced, and it features a spectacular ending that perfectly summarizes the events that preceded it. Another strength is its exquisite black-and-white cinematography, which does a superb job of creating atmosphere and reinforcing the mood. Ultimately, The Third Lover is a mesmerizing film that will keep you enthralled until its final frame.

The Third Lover gets a first-rate release from Kino Lorber that comes with a solid audio/video presentation and an informative audio commentary, highly recommended.

Written by Michael Den Boer