{"id":434542,"date":"2022-04-20T15:00:06","date_gmt":"2022-04-20T12:00:06","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/sam-peckinpahs-the-osterman-weekend-finally-comes-home\/"},"modified":"2022-04-20T15:00:06","modified_gmt":"2022-04-20T12:00:06","slug":"sam-peckinpahs-the-osterman-weekend-finally-comes-home","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/sam-peckinpahs-the-osterman-weekend-finally-comes-home\/","title":{"rendered":"#Sam Peckinpah&#8217;s &#8216;The Osterman Weekend&#8217; Finally Comes Home"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_85 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a3e3a119cf9d\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a3e3a119cf9d\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-1'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/sam-peckinpahs-the-osterman-weekend-finally-comes-home\/#%E2%80%9CSam_Peckinpahs_%E2%80%98The_Osterman_Weekend_Finally_Comes_Home%E2%80%9D\" >&#8220;Sam Peckinpah&#8217;s &#8216;The Osterman Weekend&#8217; Finally Comes Home&#8221;<\/a><\/li><\/ul><\/nav><\/div>\n<h1><span class=\"ez-toc-section\" id=\"%E2%80%9CSam_Peckinpahs_%E2%80%98The_Osterman_Weekend_Finally_Comes_Home%E2%80%9D\"><\/span>&#8220;Sam Peckinpah&#8217;s &#8216;The Osterman Weekend&#8217; Finally Comes Home&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h1>\n<pre><code>     &lt;span class=\"mx-1\"&gt;Forty years after its release, the director\u2019s cut of Sam Peckinpah\u2019s last film is finally available.&lt;\/span&gt;\n&lt;\/p&gt;&lt;div id=\"\"&gt;\n\n\n\n                &lt;figure class=\"sf-entry-featured-<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a> \"&gt;\n            &lt;img width=\"800\" height=\"493\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/04\/the-osterman-weekend.jpg\" class=\"articlethumb wp-post-image\" alt=\"The Osterman Weekend\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/04\/the-osterman-weekend.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/04\/the-osterman-weekend-768x473.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"\/&gt;                                    &lt;p&gt;\n                    &lt;span class=\"sf-entry-flag sf-entry-flag-creditline\"&gt;Imprint Films&lt;\/span&gt;\n\n                        &lt;\/figure&gt;\n\n    &lt;!-- START BYLINE --&gt;\n    &lt;div class=\"row align-items-center justify-content-center my-4 text-center medium dark-gray\"&gt;\n        By\u00a0Rob Hunter\u00a0\u00b7 Published on April 20th, 2022 \n        &lt;\/div&gt;\n    &lt;!-- END BYLINE --&gt;\n\n    Imprint Films is a sub-label from Australia\u2019s ViaVision, and they release finely curated Blu-rays of beloved films from decades past. Their latest release is a special edition of Sam Peckinpah\u2019s &lt;strong&gt;&lt;em&gt;The Osterman Weekend&lt;\/em&gt;&lt;\/strong&gt; (1983) complete with a never-before-seen debut of the filmmaker\u2019s director\u2019s cut.\n<\/code><\/pre>\n<p>John Tanner (Rutger Hauer) is a popular television host known for asking the tough questions and confronting his guests with challenging banter, but he\u2019s looking forward to taking a break for a relaxing weekend with family and friends. That changes when a CIA agent named Fassett (John Hurt) informs him that his three lifelong friends \u2014 Bernard Osterman (Craig T. Nelson), Richard Tremayne (Dennis Hopper), and Joseph Cardone (Chris Sarandon) \u2014 are actually KGB spies. Fassett wants Tanner to help turn one of the men into a double agent, but as the weekend unfolds it quickly becomes clear that very little is as it seems.<\/p>\n<p><em>The Osterman Weekend<\/em> was Peckinpah\u2019s final film, and it is fairly reviled. (To be fair, Robert Ludlum\u2019s novel is also far from revered.) It\u2019s his <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.rottentomatoes.com\/celebrity\/sam_peckinpah\">lowest-rated movie on Rotten Tomatoes<\/a>, and you\u2019d be hard-pressed finding film critics willing to defend it. That said, I\u2019m your huckleberry \u2014 <em>The Osterman Weekend<\/em> is a messy spy film that\u2019s ultimately not even a spy film, and instead it\u2019s an entertaining look at the disintegration of personal relationships in the face of <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/technology\/\" data-internallinksmanager029f6b8e52c=\"4\" title=\"Technology\" target=\"_blank\" rel=\"noopener\">technology<\/a>, surveillance, and our addiction to screens. Think Peckinpah\u2019s <em>The Big Chill<\/em>. It\u2019s ultimately fairly prescient on that front ending with an effective statement made directly to the viewers regarding their (our) inability to turn the damn thing off.<\/p>\n<p>There are undeniable plot holes and missteps here as pieces fit together messily (if they fit at all), most notably in the logic regarding Fassett\u2019s manipulation of the CIA director (Burt Lancaster) and certain events that transpire in the third act. Take a step back, though, and the messiness feels in line with the paranoia running through it all, both from Fassett and the friends gathering for the weekend. The <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">theme<\/a>s are effective, but the highlight here is arguably the interactions of cast and characters.<\/p>\n<p>Hauer makes for an interesting lead, and the supporting players (including Hopper, Sarandon, and Meg Foster, Helen Shaver, and Cassie Yates as the unlucky wives) all do solid work. Hurt and Nelson are the standouts, though, as both bring charisma and a dark sense of humor to their characters. Hurt channels Fassett\u2019s pain into some mean-spirited banter while having fun at other times including a beat where he has to pretend to be a weatherman on the TV. Nelson, meanwhile, is set up as a ringleader of sorts only to be revealed to be far less in control resulting in some entertaining asides and observations.<\/p>\n<p>The director\u2019s cut was made by Peckinpah\u2019s archivist, Don Hyde, in 1983 from the director\u2019s own negative, and is the only 35mm print of this cut in existence. No restoration has been attempted as of yet (beyond cleaning and slight color grading), so this 2K HD master of the film represents the best it can possibly look for now. To be clear, this director\u2019s cut is not the same as the rough VHS cut that was previously available on earlier DVD releases \u2014 that was a preview cut that Peckinpah made available for a screening in 1983, and it differs from the director\u2019s preferred cut which is now available here for the first time. This also differs from the preview cut in that the image is dramatically better and looks good (even if it would still benefit greatly from an actual restoration).<\/p>\n<p>Hyde and Peckinpah knew this cut wouldn\u2019t officially see the light of day, so an opening crawl was added at the time \u2014 again, this is the only print and was mainly intended for showing friends and such \u2014 stating the following:<\/p>\n<blockquote><p>\u201cWhat you are about to see is the one and only version of a picture by Sam Peckinpah and David Rawlins. The producers took the film on July 18th, 1983. We are responsible for this version and no other version of The Osterman Weekend.\u201d<\/p>\n<\/blockquote>\n<p>Specific detail differences can be found in a featurette on the director\u2019s cut Blu-ray, and there are a lot of little changes throughout, but the <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/general\/\" data-internallinksmanager029f6b8e52c=\"3\" title=\"General\" target=\"_blank\" rel=\"noopener\">general<\/a> feel of the film remains the same. Basically, if you\u2019re a fan already then you\u2019ll appreciate seeing Peckinpah\u2019s actual preferred cut, and if you\u2019re not? Well, this cut won\u2019t change your mind. The film remains something of a narrative mess as the story never quite reaches as far as it should, but you can see Peckinpah\u2019s intentions more clearly in regard to his (attempted) focus on characters. What can I say, it works for me thanks to those character beats and small instances of humor that were removed for the theatrical cut.<\/p>\n<p>Imprint\u2019s slick new box-set of <em>The Osterman Weekend<\/em> features both the theatrical and director\u2019s cuts (both presented region-free and playable in the U.S.), and each Blu-ray comes in its own case (both of which fit snugly into a die-cut box). The contents of each disc are below.<\/p>\n<p>Director\u2019s Cut [1:44:56]<\/p>\n<ul>\n<li>*NEW* Commentary by Peckinpah expert Mike Siegel<\/li>\n<li>*NEW* Passion &amp; Poetry: Sam\u2019s Final Cut [38:26] \u2013 A documentary recounting Mike Siegel\u2019s acquisition of the 35mm print after years of unprotected storage, he walks viewers through the process of cleaning and scanning the film detailing the hurdles they faced along the way. The doc also includes snippets of deleted scenes, comparisons, and interviews with those familiar with the cut.<\/li>\n<li>*NEW* The Two Cuts [1:06:41] \u2013 As stated at the start of this featurette, the two cuts differ in numerous ways including \u201calternative takes, additional\/deleted footage, edited and censored dialogue, as well as different chronology\/order of appearance of certain scenes.\u201d This offers up a comparison highlighting all of the differences.<\/li>\n<li>Filming The Osterman Weekend [9:46] \u2013 An animated gallery featuring behind-the-scenes photos from the film\u2019s production.<\/li>\n<li>The Osterman Weekend in 100 Pictures [9:45] \u2013 An animated gallery \u201ctelling\u201d the story via chronological photos.<\/li>\n<li>Promoting The Osterman Weekend [9:40] \u2013 An animated gallery showcasing the film\u2019s marketing from around the world.<\/li>\n<\/ul>\n<p>Theatrical Cut [1:42:28]<\/p>\n<ul>\n<li>1.66:1 aspect unrestored 35mm print from the German theatrical release scanned in 2K<\/li>\n<li>Commentary by film historians Paul Seydor, Garner Simmons, David Weddle, and Nick Redman<\/li>\n<li>Alpha to Omega: Exposing The Osterman Weekend [1:18:05] \u2013 A feature-length documentary produced in 2004 on the film\u2019s troubled production, it starts with the producers bringing the option to Peckinpah and ends with them taking the movie away from him. Producers, cast, and crew discuss the film\u2019s production, the highs and lows of working with Peckinpah, and the film\u2019s ultimate legacy.<\/li>\n<li>US theatrical trailer<\/li>\n<\/ul>\n<p>The region-free box-set of <em>The Osterman Weekend<\/em> can be ordered directly <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/viavision.com.au\/shop\/category\/imprint-films\/\">from Imprint Films<\/a> or from <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/www.diabolikdvd.com\/\">Diabolik DVD<\/a>.<\/p>\n<pre><code>    Related Topics: Home Video, The Osterman Weekend\n    &lt;!-- AUTHOR BOX --&gt;\n<\/code><\/pre>\n<div class=\"gray-bg p-4 border small mb-5\">\n<div class=\"row align-items-center text-md-center\">\n<div class=\"col-md-2\">\n            <img decoding=\"async\" src=\"https:\/\/secure.gravatar.com\/avatar\/dca6f7118e64ea9aa6ef4f60221cfe7e?s=96&amp;d=mm&amp;r=x\" class=\"circle img-fluid\" width=\"100px\" height=\"100px\"\/>\n        <\/div>\n<div class=\"col-md\">\n            Rob Hunter has been writing for Film School Rejects since before you were born, which is weird seeing as he&#8217;s so damn young. He&#8217;s our Chief Film Critic and Associate Editor and lists &#8216;Broadcast <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/news\/\" data-internallinksmanager029f6b8e52c=\"2\" title=\"News\" target=\"_blank\" rel=\"noopener\">News<\/a>&#8217; as his favorite film of all time. Feel free to say hi if you see him on Twitter <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/twitter.com\/FakeRobHunter\">@FakeRobHunter<\/a>.        <\/div>\n<\/p><\/div>\n<\/div>\n<pre><code>    &lt;!-- START RECOMMENDED READING 1 --&gt;\n                                &lt;section class=\"recommended py-5\"&gt;\n            &lt;h3&gt;Recommended Reading&lt;\/h3&gt;\n\n\n        &lt;\/section&gt;\n            &lt;!-- END RECOMMENDED READING --&gt;\n\n\n\n\n&lt;\/div&gt;&lt;script async src=\"\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"&gt;&lt;\/script&gt;\n<\/code><\/pre>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/filmschoolrejects.com\/the-osterman-directors-cut-review\/#utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-osterman-directors-cut-review\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Sam Peckinpah&#8217;s &#8216;The Osterman Weekend&#8217; Finally Comes Home&#8221; &lt;span class=&#8221;mx-1&#8243;&gt;Forty years after its release, the director\u2019s cut of Sam Peckinpah\u2019s last film is finally available.&lt;\/span&gt; &lt;\/p&gt;&lt;div id=&#8221;&#8221;&gt; &lt;figure class=&#8221;sf-entry-featured-media &#8220;&gt; &lt;img width=&#8221;800&#8243; height=&#8221;493&#8243; src=&#8221;https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/04\/the-osterman-weekend.jpg&#8221; class=&#8221;articlethumb wp-post-image&#8221; alt=&#8221;The Osterman Weekend&#8221; srcset=&#8221;https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/04\/the-osterman-weekend.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/04\/the-osterman-weekend-768&#215;473.jpg 768w&#8221; sizes=&#8221;(max-width: 800px) 100vw, 800px&#8221;\/&gt; &lt;p&gt; &lt;span class=&#8221;sf-entry-flag sf-entry-flag-creditline&#8221;&gt;Imprint Films&lt;\/span&gt; &lt;\/figure&gt; &lt;!&#8211; START&#8230;<\/p>\n","protected":false},"author":1,"featured_media":434543,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/04\/the-osterman-weekend.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-434542","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/434542","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=434542"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/434542\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/434543"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=434542"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=434542"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=434542"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}