Night Moves
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Synopsis
Arthur Penn’s haunting neonoir reimagines the hard-boiled detective film for the disillusioned, paranoid 1970s. In one of his greatest performances, Gene Hackman oozes world-weary cynicism as a private investigator whose search for an actress’s missing daughter (Melanie Griffith) leads him from the Hollywood Hills to the Florida Keys, where he is pulled into a sordid family drama and a sinister conspiracy he can hardly grasp. Bolstered by Alan Sharp’s genre-scrambling script and Dede Allen’s elliptical editing, the daringly labyrinthine Night Moves is a defining work of post-Watergate cinema—a silent scream of existential dread and moral decay whose legend has only grown with time.
Picture 9/10
In another nice little surprise, The Criterion Collection presents Arthur Penn’s Night Moves on 4K UHD, featuring Dolby Vision on a triple-layer disc in its original aspect ratio of 1.85:1. The 2160p/24hz ultra high-definition image comes from a brand-new 4K restoration, sourced from a scan of the 35mm original camera negative. The release also includes a standard dual-layer Blu-ray with a 1080p presentation of the film (sourced from the same restoration) and all of the accompanying video features.
This new restoration marks a notable improvement over Warner Archive’s older Blu-ray. The image is sharper and more filmic overall, with the film’s fine grain structure rendered beautifully and naturally. The new scan and added resolution lend the film a clearer, crisper image throughout, though a handful of shots lean hazier—likely the result of choices made in the original cinematography. But when the image is sharp, it’s razor sharp.
The Dolby Vision HDR grading provides a welcome boost in contrast and dynamic range, most evident during the film’s nighttime sequences. Scenes of Harry Moseby (Gene Hackman) driving at night showcase deep black levels and a strong range of shadow detail, far more nuanced than what was present on the older Blu-ray. One particular standout is the sequence where the downed plane is discovered—it now looks clearer and more layered thanks to the improved dynamic range. Highlights, like sunlight reflecting off the ocean, pop beautifully as well, without any signs of clipping.
Restoration work is equally impressive, leaving the image remarkably clean. Print damage has been scrubbed away, making it practically nonexistent, all while retaining a pleasing and natural film texture.
As for the color grading, I'm aware there’s been some online chatter suggesting a significant shift from past home video releases. While the grading does lean cooler—I guess even veering toward teal—I didn't find it anywhere near as aggressive as some are claiming. I was expecting something along the lines of a Ritrovata restoration (with its notorious yellow-green push) or something featuring Eclair’s heavy teal leanings, but that’s not the case here. Instead, the grading feels more restrained and scene-dependent. Compared to the older Warner disc’s warmer, redder presentation, this one can feel cooler, but nothing struck me as overdone or unnatural.
Some nighttime sequences do display greener hues, but this feels typical of films from this era and never overwhelms the image. Skies look like a proper blue rather than veering toward cyan or teal, even bettering what the Warner Blu-ray offered. Skin tones remain healthy, and reds are vibrant and well-saturated, offering an appealing pop—especially in sequences like the red-lit bar. Taken on its own, the presentation ultimately looks appropriate for the period. Criterion notes that a vintage 35mm Technicolor dye-transfer print was used as a color reference, which adds some credibility to the choices. And even if there are slight deviations, describing this grading as something that's “drenched in teal” is an exaggeration.
While it might not perfectly align with everyone’s expectations based on older releases, I found this to be a terrific-looking presentation—suiting to the material and a significant step up from past editions.
Audio 7/10
The film’s original mono track is presented here in lossless PCM, offering a surprisingly robust single-channel presentation. The restoration work has left the track in excellent shape, with no noticeable distortion, hiss, or damage to detract from the experience.
The range is fairly wide for a mono track, something Michael Small’s dynamic score takes full advantage of. Dialogue is consistently sharp and clear, cutting through cleanly in all scenes. It’s a strong, faithful presentation overall—very good work.
Extras 8/10
In a bit of a surprise, Criterion has produced a new audio commentary for this release—something that’s become increasingly rare for them in recent years. The track is provided by Matthew Asprey Gear, author of Moseby Confidential, and leans more academic in tone. Gear delves into the film’s production history, focusing on screenwriter Alan Sharp and director Arthur Penn, detailing how Sharp’s original intentions with the script clashed somewhat with Penn’s interpretation. This divergence led to tension between the two, which Gear explores further through a discussion of Sharp’s novelization, where the writer reasserted some of his original ideas and expanded on Moseby’s inner life (it's a bit of a shame that couldn't somehow be included as a supplement as well).
The commentary also places the film firmly within the political and cultural climate of the 1970s, touching on post-Watergate disillusionment, the public’s fixation on the Zapruder film, and the general malaise of the era. Gear draws connections between this backdrop and the trajectory of Hackman’s character. It’s a thoughtful and well-researched track, also reflecting on the film’s disappointing initial release—coming out shortly after another noir revisionist, Chinatown—and its critical reappraisal in the years since.
Criterion also includes two interviews with Arthur Penn. The first is a 19-minute appearance from a 1975 episode of Cinema Showcase, with Penn promoting the film. It’s very much of its time, but Penn offers some worthwhile insights into the film’s “deceptively simple” plot, and draws comparisons to Chinatown. He also touches on the differences between working in theater and film, and briefly discusses Mickey One. The conversation is engaging enough, though the host comes off as a bit pretentious—he has a definite “John Hodgman parody” vibe to him.
The second interview is a brief, 5-minute excerpt from the 1995 documentary Arthur Penn: A Love Affair with Film. Here, Penn reflects on the unrest of the period—political assassinations, Watergate—and how that informed his approach to the story. He also discusses the film’s reliance on visual storytelling (show, don't tell) and its use of foreshadowing.
Criterion has also recorded a new interview with actress Jennifer Warren. Running 17 minutes, this audio-only piece plays over clips and production stills. Warren recalls how she initially auditioned for the role of Moseby’s wife before convincing Penn to let her read for the part she ultimately secured. She shares several lively production stories, including one about improvising on set—a process Hackman wasn’t particularly fond of, much to her amusement. She also discusses her character and the challenges of filming on the water.
Rounding out the set is Day of the Director, an 8-minute promotional featurette from the film’s original release (and also included on Warner's Blu-ray), offering a bit of behind-the-scenes footage. The film’s original theatrical trailer is also included, running about 2 minutes. Interestingly, the trailer sells the film as more of a straightforward action thriller, something Warren herself comments on in her interview, noting that Warner Bros. didn’t seem to know how to market it at the time.
Finally, Criterion includes a new insert featuring an essay by Mark Harris, who offers further context on the film’s production and its place in the cultural landscape of the 70s.
All in, it’s not a packed set, but I found the commentary and supplements engaging and informative—a nicely assembled package.
Closing
The film has steadily gained recognition over the years, and Criterion’s new edition does it full justice, offering a sharp, filmic presentation paired with a solid collection of informative features, including an engaging academic commentary. Highly recommended.
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