MOVIE REVIEW
Prime Cut (4K)
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Genre: Action, Crime, Thriller, Drama
Year Released: 1972, 2024 Kino Lorber 4K
Runtime: 1h 27m
Director(s): Michael Ritchie
Writer(s): Robert Dillon
Cast: Lee Marvin, Gene Hackman, Sissy Spacek, Angel Tompkins, Gregory Walcott, Janit Baldwin, Howard Platt
Where To Watch: available August 20, 2024; pre-order your copy here: www.kinolorber.com or www.amazon.com

RAVING REVIEW: Michael Ritchie's PRIME CUT is a fearless leap back into the tumultuous 1970s, painting a picture of a society grappling with its moral decay. The film parallels the hectic urban jungle of Chicago against the sprawling rural plains of Kansas, creating a rich visual journey that serves as the battleground for a gritty narrative. The film's dynamic leads, Chicago's stoic enforcer Nick Devlin  (Lee Marvin) and Kansas's menacing meatpacker kingpin Mary Ann (Gene Hackman,) drive a story that's as much about internal struggle as external conflict.

The film opens with a chilling and graphic, implied scene, setting the tone for a narrative steeped in harsh realities. This shocking beginning is not just for effect—it catapults Devlin into the heart of darkness, where he uncovers Mary Ann's heinous blend of legitimate business and illicit human trafficking operations. This journey into the belly of the beast lays bare the sinister undertones of rural criminality.

Hackman's portrayal of Mary Ann is a complex masterclass. He blends a magnetically villainous charm with a deep-seated hostility that's hard to peel your eyes from. Hackman brings layers to Mary Ann as a character, hinting at unspeakable secrets while leaving much to the audience's imagination. His nuanced performance makes Mary Ann a character you loathe yet can’t help but be fascinated by, despite the film leaving his deeper motivations out of reach.

Contrasting sharply with Hackman's Mary Ann, Marvin’s Nick Devlin adds a silent but deadly sense of justice. His character's journey is one of redemption, not just for himself but for the society he moves through, painting his brutal encounters with Mary Ann's empire in strokes of personal and societal retribution. The narrative reaches a critical turning point with the rescue of Poppy, portrayed with poignant vulnerability by Sissy Spacek, whose introduction injects a crucial human element into the stark storyline.

Under Michael Ritchie’s direction, PRIME CUT unfolds at a breakneck pace, fueled by Robert Dillon's sharp screenplay filled with taut dialogue and gripping sequences. Although the film ambitiously chases its thematic and visual goals, it occasionally stumbles, letting dramatic set pieces overshadow deeper character exploration.

Gene Polito's visual storytelling starkly contrasts grim urban decay against the vast openness of rural America with a muted 70s palette that underscores the narrative's gritty underpinnings. Editor Carl Pingitore keeps the momentum relentless, ensuring the film's pulse matches its soaring dramatic peaks. Lalo Schifrin’s musical score is a standout. It layers jazzy undertones with a suspenseful cadence that amplifies the film's tension, enriching the atmosphere and drawing viewers deeper into the unfolding drama.

Due to its graphic nature, the film's portrayal of women, particularly in sequences involving trafficking, might strike a discordant note with contemporary viewers. These scenes, designed to disturb, may disconnect some from the film's appeal. Additionally, its abrupt conclusion may leave audiences craving a more satisfying resolution to the complex narratives woven throughout the film. Without a doubt, this film is a product of its time, a product from a different era of filmmaking.

Nevertheless, PRIME CUT is a potent critique of the era it depicts, layering action-packed sequences with profound social commentary. It challenges viewers to confront uncomfortable truths through its compelling portrayal of characters who navigate a world rife with moral ambiguities.

Ultimately, PRIME CUT is a genre-defying exploration of crime, exploitation, and dark comedy, crafting a narrative that challenges viewers to think critically about the film and its themes. Its impact lingers long after the credits roll, cementing its status as a thought-provoking piece of 70s cinema that resonates with a modern audience.

Product Extras:
Brand New HDR/Dolby Vision Master – From a 4K Scan of the 35mm Original Camera Negative
NEW Audio Commentary by Lee Marvin Biographer Dwayne Epstein
NEW Audio Commentary by Film Historians Steve Mitchell and Nathaniel Thompson
Theatrical Trailer
Optional English Subtitles

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[photo courtesy of KINO LORBER]

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