Cutter's Way
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Synopsis
The laid-back Californian gigolo Richard Bone (Jeff Bridges) finds himself suspected of murder when he happens to see the wrong thing at the wrong time: the body of a young girl being dumped into a garbage can in a quiet Santa Monica neighbourhood. Bone’s friend, the capricious and paranoid Vietnam veteran Cutter, (John Heard), begins to suspect a conspiracy behind the killing, with local oil tycoon J.J. Cord (Stephen Elliott) at its centre. He persuades a reluctant Bone to try and take Cord down, leading to a sinister escalation of events that will change their lives forever. Featuring career-best performances from its cast, a memorable score from Jack Nitzsche and pitch-perfect direction from Ivan Passer, the cynical and devastating Cutter’s Way is one of the defining films of the post-Vietnam, post-Watergate era - a defiant howl of frustration at the corruption of the American dream, and one of the most essential California noirs ever made.
Picture 10/10
Radiance presents Ivan Passer'sCutter's Way in a new 4K UHD limited edition, offering the film in Dolby Vision on a triple-layer disc in its original aspect ratio of 1.85:1. The 2160p/24hz ultra high-definition presentation is sourced from a new restoration taken from a 4K 16-bit scan of the 35mm original camera negative. This edition also includes a standard dual-layer Blu-ray featuring a 1080p presentation of the film and all video features.
One of those movies that has admittedly been on my radar for decades (especially more recently, given the steady stream of Blu-ray releases from various labels) this is nevertheless my first time viewing the film, so I don’t have much of a frame of reference for how this presentation will compare to those previous ones. Yet, despite that, I have a hard time imagining any of those previous editions coming close to what’s offered here, as this presentation proves to be an absolute stunner in just about every respect.
Aside from a handful of minor marks, the restoration has done an incredible job cleaning up the now 45-year-old film to near-pristine condition, all without impacting the film’s heavy grain structure. As one would expect from Radiance, grain is rendered beautifully, free of compression issues or other artifacts, and it dances beautifully across the screen. The result is a wonderfully filmic image that also allows finer details and textures to come through without a hitch. Whether it's a close-up or a long shot, the image stays incredibly sharp throughout.
What proves most surprising, however, is how much the expanded range afforded by HDR elevates the presentation even further. There are several standout moments, particularly in darker scenes where intense light breaks through, such as the early police interview, where the light wraps around the detective before casting across Bridges' Bone. I was also struck by how vivid and striking the early alley sequence (which sets the plot in motion) appears, with bright headlights reflecting off the heavy rain. Black levels are strong, offering excellent delineation in the shadows, and while the film’s color scheme isn’t especially varied, there are still some rich reds and greens that pop nicely. The overall image carries a warm tone, but it feels appropriate to the period, resembling something that could have been achieved photochemically.
In all, it looks terrific. While again I can’t directly compare it to earlier releases, this presentation easily exceeds expectations, and it’s hard to imagine any previous edition surpassing it.
Cutter's Way - Screen Captures
Audio 7/10
The monaural soundtrack, presented in single-channel DTS-HD MA, is also quite impressive. Range is fairly wide overall, while dialogue comes through clearly and cleanly. Jack Nitzsche's score is especially dynamic, swelling where appropriate without ever distorting or sounding harsh. It’s a strong presentation that serves the film well.
Extras 9/10
Radiance really packs this edition with material, appearing to have ported everything over from previous releases while adding a couple of their own goodies. This includes the option to watch the film with its original Cutter and Bone title credits (it would be released as Cutter’s Way) on both the 4K and Blu-ray. There’s also an optional audio introduction by Jeff Bridges, originally recorded for the Imprint edition, where the actor reflects on the film, noting he agreed to do the feature because he wanted to talk about his co-star, John Heard. This can be played before the film or accessed from the supplements section on the Blu-ray.
Also ported from previous releases is the film’s isolated soundtrack, along with three audio commentary tracks. The first, featuring novelist Matthew Specktor and recorded in 2022 for the Fun City Edition, ends up being the weakest inclusion, and I can’t say I understand why this track exists. At first I thought Specktor might bring some first-hand knowledge about the film and its production, since he explains how he was able to read the script before the film was produced thanks to his father being a talent agent. From that I expected some unique insight, yet the track never develops beyond surface-level observations—commentary on performances, the film’s noir elements, and its California setting—without offering much depth or analysis. It really doesn’t offer much.
Thankfully, the next track, featuring film historians Julie Kirgo and Nick Redman and recorded in 2016 for the Twilight Time edition, comes off much better. The two take a more academic approach, placing the film within its historical context, caught between the paranoid cinema of the 1970s and the more overtly capitalist, “greed is good” films that would define the 1980s. This clash may help explain why the film struggled on its initial release, with Ivan Passer’s European sensibilities possibly not helping matters. The two also touch on its messy release (also mentioning Chilly Scenes of Winter, which went through a similar fate) and make comparisons to the novel, though humorously it sounds as though neither had actually read it beforehand. What really makes the track engaging, though, is their enthusiasm, especially Kirgo’s, as they dig into the film’s themes with genuine passion.
Also solid—if not as good as the Kirgo/Redman one—is the track featuring assistant director Larry Franco and unit production manager Barrie Osborne, moderated by Gillian Wallace Horvat and recorded for the Imprint edition. As expected, this one is more production-focused, offering a number of behind-the-scenes stories, including tensions between producer Paul Gurian and Passer, casting what-ifs (including Richard Dreyfuss), and the challenges of staging certain sequences, like creating a parade that essentially just looped in circles. Horvat helps keep things moving at a steady pace, and the track proves consistently engaging. If you’re only choosing one, the Kirgo/Redman track is still the essential listen, but this one is certainly worth your time as well.
New to this edition is the 42-minute documentary Piety, Patriotism and Violence: The Legacy of “Cutter and Bone”, featuring writers Megan Abbott, Jordan Harper, and George Pelecanos. The piece is split into two sections, with the first focusing on Newton Thornburg’s original novel covering its structure, tone, and critique of power, before shifting to the film adaptation. The participants explore how the film differs from the source (with Abbott even questioning whether it qualifies as a neo-noir), and the discussion ultimately fills in gaps left by the other supplements, offering a more thorough examination of both the novel and the adaptation.
The remaining material is archival from previous releases. This includes that Bridges introduction alongside a 2015 interview with Passer. This 38-minute discussion features the director talking about how he got into filmmaking, working with Miloš Forman, and eventually making the move to the States. He also comments on what one should consider when adapting a novel (he feels one should “betray” the novel before the film, since the novel already exists) and talks about the friendship between the two protagonists and its importance, noting he grew up under both Nazi and Communist rule, where one couldn’t trust friends or even their own parents.
A 26-minute interview with Gurian, recorded for the 2022 Imprint edition, has also been carried over. He talks about securing the rights to the book and assembling the production, including a funny story involving his meeting with Bridges to convince him to star (which Bridges confirms in his short interview). There are also a couple of interesting casting anecdotes, with Harrison Ford apparently being considered, only for the studio to pass because they didn’t think he had star potential (something that, amusingly, also happened when Jacques Demy tried to cast him in another film, so it was a common problem). Gurian is a bit of a character, but it makes for an engaging discussion.
Also from the executive side is an audio interview with former United Artists executive Ira Deutchman, who spends 11 minutes talking about the United Artists Classics division and how they handled new releases. This included Cutter’s Way, and he explains how the release was mishandled, even if it was eventually corrected (to a degree) with a release and title change, similar to what happened to the John Heard-starring Chilly Scenes of Winter (aka Head Over Heels). This one appeared on the Fun City Edition.
FCE had also produced a new interview with actor Lisa Eichhorn for their 2022 release, which is included here as well. After sharing a funny story about how she landed earlier acting roles (pretending she was British), she talks about getting her role in Cutter’s Way and her experience on set. She discusses her character, particularly why she would be with Cutter, and even mentions concerns she had about a specific scene and the conflict that arose from it. She also expresses surprise at the film’s growing cult reputation, and even that she is still recognized for her role in it. Another strong inclusion.
Music editor Curt Sobel then talks for 12 minutes about the film’s score and composer Jack Nitzsche, sharing stories about the recording process, including the use of a “glass harmonica” (wine glasses filled with varying amounts of water). A 2015 interview with Bertrand Tavernier is also included, featuring the filmmaker speaking about Passer and the film (which he considers one of the great American films) for 26 minutes. The disc then closes with the film’s trailer and a small gallery featuring photos and posters.
Radiance’s special edition packages the two discs in a two-disc Scanavo case with reversible artwork (featuring the Cutter and Bone title on one side). This is housed in a sturdy slipcase alongside an 80-page booklet. The booklet features a number of essays, starting off with an essay by Nick Pinkerton exploring the film’s longevity and still relevant themes, followed by a nice piece on Bridges by Christina Newland, with a focus on the film and this period of his career. Travis Wood then provides a lengthy essay on what can probably be best described as the possible pointlessness of the film’s central plot and mystery, before the booklet closes with a reprint of a 1995 Q&A with Passer (along with notes about the restoration and release). As usual, Radiance's booklet proves to be one of the strongest additions to the release.
All around it’s a stacked edition, and outside of the one weaker commentary, all of it is well worth going through if one hasn’t done so yet
Closing
An absolutely terrific release, featuring a (mostly) wonderful slate of engaging features and a knockout 4K presentation, all wrapped in a handsome collector’s package. An easy recommendation for fans of the film.
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