Bobby Deerfield

Reviewed by: C.D. Workman
Released by: Twilight Time
Released on: September 13, 2016
Directed by: Sydney Pollack
Cast: Al Pacino, Marthe Keller, Anny Duperey, Walter McGinn, Romolo Valli, Van Doude
Year: 1977
Purchase from Screen Archives

The Movie:

Now here's a film that's hard to describe. The year was 1977, and Al Pacino was just coming off a brief hiatus after some of the best work of his career, which included the first two Godfather movies (1972, 1974), Serpico (1973), and Dog Day Afternoon (1975). Agreeing to star in a three-hanky weepy that's more Dark Victory (1939) than The Petrified Forest (1936) must have seemed a natural turn, given the rough-edged characters he was known for playing. Add to the mix a source novel, Heaven Has No Favorites, by Erich Maria Remarque, author of All Quiet on the Western Front; a script from Alvin Sargent, who also wrote The Sterile Cuckoo (1969), Paper Moon (1973), and Julia (1977); and direction from acclaimed filmmaker Sydney Pollack, who had struck critical and commercial gold with They Shoot Horses, Don't They? (1969), Jeremiah Johnson (1972), The Way We Were (1973), and Three Days of the Condor (1975). So where did it all go wrong?

The film concerns one Bobby Deerfield (Al Pacino), a racecar driver who is aloof and guarded. When a colleague is killed in a fiery crash on the speedway, Bobby grows obsessed with trying to understand death, which makes meeting the beautiful, lively Lillian Morelli (Marthe Keller)—in a medical clinic in Europe, no less—all the stranger: She, too, is dying. At first Bobby is repulsed by her outgoing demeanor, but as they say, opposites attract, and in one regard, Bobby and Lillian are very much alike: They are both fascinated by death. Confronted with his evolving feelings for Lillian and how close his profession is linked with fatality, Bobby begins to change, to grow as a human being. He shreds his narcissistic self and takes on a less self-absorbed one.

Unfortunately, Pollack gives Pacino a few too many introspective close-ups, and the scene in which Bobby does a Mae West imitation (quoting one of her most famous lines) has to be seen to be believed—but we assure you, it is funny, if for all the wrong reasons! Nor is Bobby's motivation in flying all over the world made believable. Ultimately, Pollack seems ill at ease with the subject matter; he's more interested in the European countryside (and Pacino's face) than he is in the story, with the result that images of beautiful locales become the film's raison d'etre. It's possible that the weird behaviors of the characters (which were intended to be seen as endearing to viewers) might pique some people's interest and stave off sleep, but at a little over two hours, it's unlikely. The performances aren't bad; in fact, some of them are quite good. But the conduct the principal players are asked to engage in is often so strange as to create an off-kilter effect. Does that mean the movie can't be entertaining for some? Of course not. For some, that's precisely the reason to watch. And the film does have a dedicated fan base, if for Pacino, or Pollack, or the locations, or because fans had seen it when they were younger and the nostalgic factor is strong.

Reviews at the time were terrible, and over the years, the film has racked up—or down, to be more accurate—an impressively low score on Rotten Tomatoes. Regardless, all films should be preserved, and Twilight Time has done a fantastic job of preserving this one, so fans take heart: Here is Bobby Deerfield as it should be seen.

Video/Audio/Extras:

Columbia's Bobby Deerfield hits Blu-ray courtesy of Twilight Time, who presents the film in all its remastered glory in 1080p high definition, with an MPEG-4 AVC encode, utilizing the film's original 2.39:1 theatrical aspect ratio. The presentation continues a long line of visual and aural successes for the boutique label, thanks to a glorious transfer that brings out the best in Henri Decaí«'s sumptuous cinematography. The film was shot in and around Paris, France, as well as the French countryside and in other parts of the European continent. Color and detail is striking, and nowhere is this better displayed than during a sequence involving hot air balloons. The image is a mix of large, brightly colored hot air balloons, smaller but also brightly colored balloons, and cornfields and trees of various shades of green. The detail is exquisite, and the image has been cleaned of all dirt and debris, giving it at times the look of a painting. Grain is minimal; what little is there looks entirely natural. A few scenes appear to have had a very gentle touch of noise reduction applied, but never does the image become a waxy mess. In fact, it's absolutely gorgeous. Skin tones appear natural, and depth is solid. Black levels are well modulated, and there's no crush. Noise does not rise during darker sequences to take over the frame; instead, we get such a strikingly beautiful, detailed image that it's difficult to imagine the film ever looking better.

Bobby Deerfield's primary track is set in English DTS-HD Master Audio 5.1 and sounds very good. The film is relatively low-key, with a generally low-key score. Most of it, sans the few minor racing interludes, is driven by dialogue. The sound mix is well balanced, with no parts mixed too low or too loud. The result is a pleasing combination of dialogue, score, and sound effects. The surround really only comes into play for the action-oriented scenes mentioned above. Also offered is an English DTS-HD Master Audio 2.0 track, which is a little more limited but nonetheless healthily encoded. For folks with a sound bar, this is probably the best option. And finally, there's an English DTS-HD Master Audio Mono track, though the sounds are threaded through two channels. Purists may opt for this track. The score is also provided in isolation. Because it isn't omnipresent, there are long portions of the film without sound. Regardless, this can be pleasantly diverting, particularly for people who love the score, which hasn't been made available on its own in years. Rounding out the various tracks is a commentary track from director Pollack, who recorded it for a foreign DVD release before he died. Pollack was always a pleasure to listen to, and hearing his insights and motivations behind Bobby Deerfield is certainly illuminating. It's obvious he didn't make it up as he went along; preparation went into the track. He begins by discussing Al Pacino, who was just coming off a long line of successful films set in and around New York City. Pollack doesn't simply explain the action on the screen (the worst kind of commentary); he provides background information on every aspect of it while also dissecting it in great detail (admitting, along the way, that most people didn't like the film or Pacino's performance).

The film includes the original theatrical trailer, which runs at 2:30, as well as liner notes by incomparable film historian Julie Kirgo. Kirgo's notes are informative and funny, and they offer great insight into the film. Consider, for example, her observation that Pollack's films were love letters to beautiful men who were, to some extent, seen by Pollack as alter egos. It's an observation born of love, deep critical thought, and years of viewing and dissecting Pollack's directorial work. Kirgo offers many more gems, but we'll let you read the liner notes, which come in an 8-page booklet, for yourself so as not to ruin Kirgo's insightful writing for you.

Bobby Deerfield is a limited release of 3,000 units.

The Final Word:

Bobby Deerfield isn't a very good movie, but Twilight Time's presentation of it can't be faulted in any way. The visuals are splendid and the sound is good. There's commentary by Sydney Pollack, as well as a theatrical trailer and liner notes by Julie Kirgo. It's doubtful the film will ever look better on hard media, just as it's doubtful there will be another Blu-ray release after Twilight Time's discs are gone. So, fans, you'd better get while the getting's good.

Christopher Workman is a freelance writer, film critic, and co-author (with Troy Howarth) of the Tome of Terror horror film review series. Horror Films of the 1930s is currently available, with Horror Films of the Silent Era: Book One (1895-1915) and Book Two (1916-1929) due out later this year.

Click on the images below for full sized Blu-ray screen caps!