Thieves Like Us
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Synopsis
In Depression Era Mississippi of the 1930s, three men – Bowie (Keith Carradine, The Long Riders), Chicamaw (John Schuck, McCabe & Mrs. Miller) and T-Dub (Burt Remsen, California Split) – break out of prison before embarking on a bank robbery spree across the southern United States. Along the way, Bowie falls in love with Keechie (Shelley Duvall, Popeye) and plans for a future life without violence, if it doesn’t do him in first.
Based on the novel of the same name by Edward Anderson, and adapted for the screen by Joan Tewkesbury (Nashville), Calder Willingham (Rambling Rose) and Robert Altman (who also directed), THIEVES LIKE US is a bullet-riddled romance that’s as concerned with the myth building of the American south as it is the very real relationships between its characters. An often overlooked entry into Altman’s illustrious career, releasing just a year prior to his magnum opus Nashville (1975), THIEVES LIKE US features a rousing ensemble cast that also includes Louise Fletcher (One Flew Over the Cuckoo’s Nest) and Tom Skerrit (Alien) as well as striking, sun lit, cinematography from noted French director of photograph Jean Boffety (Je T’Aime, Je T’Aime) and would-be iconic costumes by the multi-talented Polly Platt (Paper Moon). Cinématographe is proud to present one of Robert Altman’s very best films in its world 4K UHD debut!
Picture 9/10
Robert Altman’s Thieves Like Us gets a 4K UHD upgrade from Vinegar Syndrome’s Cinématographe label, presented with HDR10 in its original 1.85:1 aspect ratio on a triple-layer disc with a 2160p/24hz ultra high-definition encode. The set also includes a standard Blu-ray featuring a 1080p presentation and the release’s video features.
Previously available on Blu-ray from Kino in North America and Radiance in the UK, this new 4K presentation, sourced from a recent restoration scanned from the 35mm original negative (excluding the opening credits), offers a significant but not unexpected boost in picture quality over the outdated master used for those earlier releases. The image is noticeably sharper, with a generally improved level of detail, though some haze and softness remain, likely inherent to the original photography.
The most striking improvement is the film-like texture of the image. Grain, which appeared buzzy and blocky in previous versions despite best efforts in encoding, now has a finer, more natural presence—always clean, never noisy. While the film’s visuals are constrained by its photography and a limited color palette dominated by browns and greens, dynamic range shows a substantial upgrade. Darker scenes can occasionally suffer from flat blacks in the background—possibly a result of the lighting and cinematography—but shadow depth is notably enhanced.
Lighting also appears far more refined overall; in contrast to the old Blu-ray, where a single bulb's light appeared harsh and abruptly cut off, the 4K version captures a more natural progression, with light tapering smoothly into the background, creating a more realistic and smoother gradient.
The HDR grade generally looks solid, although bright whites, like shirts in some scenes, occasionally appear too intense—details at least remain intact, and highlights, such as glints off chrome fenders, are impressive. Neon lights also stand out beautifully, especially in nighttime scenes like the hotel exterior and illuminated cabin numbers toward the film’s end. Despite the limited color palette, saturation is well-balanced; however, there are moments when colors skew a bit too red, giving skin tones a slightly pinkish hue, though it’s never distracting.
The film has been thoroughly restored, with only minor specks of dirt occasionally visible, leaving the source print in near-pristine condition. There are a few instances of dupey-looking shots, particularly in the opening credits and scenes with optical zoom-ins, but overall, the image remains remarkably clean.
Overall, this new presentation is a massive and sharp improvement over previous editions—easily the best the film has ever looked.
Audio 7/10
The film’s monaural soundtrack is presented in 2-channel DTS-HD MA. While those with sharper ears might notice differences, I couldn’t discern much between this track and the one on Radiance’s Blu-ray edition. The range still feels fairly wide, and voices come through clearly, even during overlapping dialogue. Music sounds fine, and sound effects like gunshots and the car accident midway are delivered with crisp pops. In all, the soundtrack is clean, free of distortion, and holds up well.
Extras 8/10
Cinématographe offers a solid set of features, though it falls slightly short of Radiance’s edition. A new, exclusive audio commentary by Nathaniel Thompson covers the film’s production, initial release, and its rise in stature over time. Thompson begins by stating his intent to avoid repeating what Altman discusses in his 1998 commentary (also included), though he occasionally overlaps. However, Thompson brings an outsider’s perspective, noting how the film likely influenced other filmmakers and referencing the novel and Nicolas Ray’s They Live By Night, which Altman mentions but admits to never seeing.
Thompson’s commentary does a commendable job covering the film’s history and reevaluation, but if you’re picking just one to listen to, Altman’s track remains the standout despite being 26 years old now. Though it has its share of quiet spots, it’s one of Altman’s better solo efforts. He delves into recreating the era (similar to his Kansas City commentary), pointing out details like newspapers on walls for insulation and contextualizing elements that might seem odd to first-time viewers (such as the prominence of Coca-Cola throughout). He also discusses They Live By Night and the radio programs appearing in the film, impressively recalling his reasoning for every small decision, including his cuts. Altman’s commentaries can be hit-or-miss, but this one is still very engaging.
Radiance’s release includes additional interviews and a video essay, plus complete episodes of a few of the radio programs featured in the film. Fortunately, Cinématographe has licensed Radiance’s excellent 35-minute interview with Keith Carradine, who reflects on the film, his early career, and his first steps into acting. Carradine recalls an impressive level of detail, including specific names, as he discusses his path to acting and his initial meeting with Altman, which led to his role in McCabe & Mrs. Miller. Thieves Like Us was his first starring role, and he fondly recalls the experience, sharing stories about the locations—chosen for their unchanged appearance since the era—and his co-stars. He also voices his displeasure with the film’s marketing, believing it targeted an audience unlikely to appreciate it. It’s an insightful and lively interview, among the best actor interviews I’ve seen recently.
Radiance’s edition also included an interview with screenwriter Joan Tewkesbury, but Cinématographe has opted to film a new one instead of licensing theirs. At 15 minutes, it’s slightly shorter than Radiance’s 18-minute version, but it covers similar ground, including how she met Altman and her work on McCabe & Mrs. Miller. She shares anecdotes, like the crew’s less-than-welcoming experience filming in a small town while shooting scenes that were later dropped (also brought up in the other interview). However, this interview doesn’t delve as deeply into the adaptation process, especially in writing for the actors. Despite this, it’s still an engaging piece.
The disc also includes the film’s trailer and a booklet bound to the packaging, featuring essays by Mitchell Beaupre, Carlos Valladares, and Marya E. Gates. Beaupre provides a general overview of the film, its release, and its characters, while Valladares focuses on the film’s understated nature, including the significance of the radio plays in the background. Gates’ essay explores how capitalism drives the characters’ decisions while also mentioning the use of radio plays in the film. It’s a strong booklet, though I’m not a fan of how it—and everything else—is packaged. While Cinématographe’s releases are sturdy, the booklets are bound to the digipack, and the overall design feels overly bulky.
Despite these minor drawbacks, it’s a well-assembled package of material, though Radiance’s still edges it out slightly.
Closing
Well worth picking up for the new presentation alone, which looks drastically better than any previous release.
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