M.I.A. Remember My Name

It's been a while since I've done an M.I.A. post - I try to be sparing and highly selective with them - but this is one that's really frustrating for me.  1978's Remember My Name is an excellent film I'm a big fan of that's never been available on disc in any capacity.  Not even a dodgy full-frame VHS rip DVD in another region, not even a laserdisc, nothing.  And it's a big studio (Columbia Pictures) film with major movie stars and everything.  When I first saw it, I thought, oh, I need to own this one, but again, there was nothing available.  And every year or so I give another desperate check around the 'net, just to see if it got quietly released in Japan, Spain, Australia or someplace, but nothing ever turns up besides the sporadic bootleg, presumably made to satiate equally desperate fans.  It's one of those, "please, won't anybody take my money?!" situations.

Remember My Name is an adult drama, written and directed by Alan Rudolph (Mrs. Parker and the Vicious Circle, The Secret Lives of Dentists), produced by Robert Altman and starring Geraldine Chaplin - yes, Charlie's daughter - as a working class woman stalking a married construction worker, played by Anthony Perkins.  Yes, he gets to be the normal one this time; but he's no less effective for it.  There are also some great early supporting roles by Jeff Goldblum, Tim Thomerson (Trancers, Dollman), Dennis Franz and Alfre Woodward.  Chaplin's had a long and storied career, acting in everything from Dr. Zhivago to Jurassic Park 5; but this is really her showcase role.  She manages to be at once ice cold and relatable.  And she's beautiful, so at first you're thinking, well gee, I don't think I'd mind having this woman stalk me.  But then she slowly teaches you why, oh yes, you certainly would in the end.

And yet this is not some bombastic Fatal Attraction-style thriller with jump scares and a body count.  This film stays grounded from beginning to end.  In fact, reading user reviews online, I've learned the understated finale disappoints a lot of viewers; but that's just the kind of movie this is, putting artistic truth ahead of a pandering, popcorn climax.  Rudolph's camera is slow and elegant, easing through a humble culture of beer and cigarettes.  It has some of that Altman feel, but focused on a singular, personal story rather than his signature scattershot ensemble.  The soundtrack is an odd choice, scoring the whole thing with nothing but these loungey jazz tunes by Alberta Hunter and her orchestra does make it feel dated.  But it's good music and definitely gives the film more of a distinct identity.

So, as always when I make one of these posts, my greatest long-shot hope is that somebody working at a studio or boutique label will stumble upon this and take up the challenge.  I've been elated to remove the "M.I.A." tag from several posts for films that've received nice, special edition blu-rays over the years I've run this site.  However I suspect the problem in this case is that ownership has shifted to Lions Gate, who we all know love to neglect their catalog titles; and this ain't exactly a Vestron-kinda flick.  But maybe I'm wrong.  Or even if I'm right, maybe they can be cajoled.  After OFDb managed to convince LG to let them release The Resurrected in Germany, I feel like anything's possible.  And hey, that paved the way for a US Scream Factory Collector's Edition.  So fingers crossed.  Hey, every day leadership changes at Warner Bros, my first thought is that maybe now they'll finally stop suppressing The Devils.  We just gotta keep banging the drum.  #ReleaseTheCarterCut, baby!