This “Limited Edition” Blu-ray from Arrow Video will be available to purchase on February 13th.
In 1971, the Barry Newman picture Vanishing Point made an immediate impression. The story of a man driving across the country on amphetamines in something of a surreal, spiritual journey was not well received by US audiences, but was successful in the UK and Europe. International grosses prompted a North American rerelease where the movie began to find its audience.
Fear is the Key seemingly has no connection, except for the lead actor Newman. The UK film is based on a 1961 novel by Alistair MacLean about a man seeking revenge who tracks his target to an oil rig. But after watching the finished product, one can see a major similarity between the titles and understand why fans of the cult film that preceded it would be entertained by this picture. Arrow Video is delivering a Blu-ray of the movie with plenty of informative extras.
The story begins with John Talbot (Newman) talking on the radio to someone who is clearly a family member and others on a private flight. Suddenly, gunfire erupts and Talbot loses contact with them. Some years later, the protagonist shows up in Louisiana and starts a fight at a gas station/diner. Police arrive and Talbot goes to trial, where it is revealed that he has recently killed a police officer and is on the run from the law. Sitting in the courtroom is Sarah Ruthven (Suzy Kendall), who is immediately taken hostage by the criminal as he tries to make a break for freedom.
After a lengthy pursuit, the pair are detained by Jablonsky (Dolph Sweet) and taken to the home of Sarah’s father, Ruthven (Ray McAnally) and his business associate, Vyland (John Vernon). Vyland and his Royale (Ben Kingsley, in his first role) are clearly sinister figures and give Talbot an assignment. If the lead can help them operate an oil rig submersible and retrieve something for them, they will let him go. As the story progresses, more is revealed about Talbot and these figures. By now, you may have already guessed that Talbot does have an ulterior motive that is eventually revealed towards the end of the picture.
Admittedly, it’s all a bit of a stretch dramatically, seeing as his elaborate plan requires him to perfectly predict the actions of those it is aimed at as well as random strangers whose paths they cross, but the film is helped by its great performances. Vernon always makes for an entertainingly slimy villain and Kingsley makes an impression as his intense right-hand man. Of course, Barry Newman is a blast to watch, also brimming with a quiet fury and blunt manner in a way that somehow still doesn’t come off as cruel or antagonistic.
And, seeing as Newman just came off Vanishing Point, the other major highlight is a jaw-dropping 20-minute plus car chase during the first act. The earlier film must have been the inspiration for this, as one can’t imagine the book having a 50-page chase right off the bat. Police cars chase the protagonist and veer through a small town (filled with confused onlookers) and highways. There is a wild jump onto a ferry, before the pursuit restarts and follows the characters through the bayou over wooden slats and other unique challenges. Sharp-eyes viewers will see a camera lens get cracked by stones during the exciting sequence, adding to the danger. It’s all stunning to watch and looks incredible on the Blu-ray.
The film then veers into drama with Talbot at the home of Ruthven, before heading to the oil rig for a few more confrontations and an unusual climax set under the water. This bit is another aspect of the story that received a bit of criticism over the years because it is relatively low-key and involves the main characters yapping at each other rather than delivering action. This reviewer does agree that one aspect of the finale doesn’t quite work. The film actually would have been more effective on an emotional level with a darker close in which Talbot stays true to his word. However, this approach certainly wouldn’t have helped it reach an audience. The end result is still intriguing throughout with a car chase that ranks among the best of the era and, even if it never tops that chase scene, is still a lot of fun to watch. It’s a strange but effective picture with plenty of memorable moments.
The image quality generally looks good. The daylight set car mayhem is crisp and looks spectacular, but later sections set at night around the mansion are grainy. Clearly, the original footage may have been underexposed and later bumped up a stop or two which is the reason, so nothing can really be done about it. At least things appear great again whenever the characters return indoors. Overall, it’s the best presentation of the film to date and probably as good as it can possibly look.
The extras are very entertaining as well. There is a fun video essay on the movie that details its history and adaptations of author MacLean’s written works. You won’t necessarily agree with all of the claims made about the titles and how this movie’s connection to spy cinema and James Bond pictures of the era, but the perspective is interesting and there are some great details.
There is a featurette about composer Roy Budd and his memorable score for the film. The historian involved goes over the jazz-infused beats and describes how they elevate the movie.
Additionally, there is an archival interview with associate producer Gavrik Losey who describes how the project came together, as well as a series of talks with various crew members. Viewers hear about where the funding came from and how easy it was to work with the film’s executive producer. This money-man enjoyed MacLean’s work, and so it was simply a matter of putting the star and other pieces together, then being left alone to complete the project. Many note how much easier things are when multiple figures aren’t putting their ideas in and complicating matters. They also go into experiences arriving in Louisiana and some of the strange attitudes the authorities had in the town where they shot. The interviewees also describe the shooting process for the famous chase. It’s all fascinating stuff.
And of course, there is also a film historian commentary. This critic is a fan of the movie and explains why he enjoys it, bringing some attention to Kendal’s effective work adding looks and responses to things going on around her, elevating the story’s underwritten and sole female character in the story. He gives background information on all the cast and crew and addresses some of the story inconsistencies while still expressing a strong admiration for the picture.
Fear is the Key isn’t perfect (well, that car chase is) but it is a fairly gripping thriller that boasts better performances than expected and some exhilarating moments. The story does have some issues, but the locations are fresh and the action and confrontations are spectacular when they do occur. Anyone who appreciates Newman’s work or is a fan of Vanishing Point from the previous year owes it to themselves to also pick up this Blu-ray. Besides Bullitt, The French Connection and the previously mentioned feature may feature the best car chase of its era, but the work in this lesser-seen effort ranks alongside those titles. This disc is certainly recommended.