Harlequin's a pretty puzzling little film, though you'll feel on more familiar footing if you're versed in the history of
Rasputin.
David Hemmings (
Deep Red) plays a rising political star who seems to have it all: wealth, influence, a beautiful and devoted family. But all that fortune is overshadowed by the fact that his young and only son is dying of leukemia, and no doctor can save him. Enter
Robert Powell (
Mahler,
Tommy), a mysterious man who claims to be a magician able to cure the boy. He's swiftly welcomed into their home, but it could be a dangerous problem if this powerful figure's motivations prove to be less than purely altruistic.
Update 10/5/18 - 3/19/25: 88 won the blu-ray duel, but Indicator has swooped in to snatch its victory by taking
Harlequin to the next level: 4k. Let's see what their fancy new edition has done for this distinctively quirky piece.
I'd hesitate to even file it under horror, though it's certainly horror adjacent, at least at times.
Harlequin's as much a drama or even a bizarre political thriller as it is anything else. There's some tension at the end, but I wouldn't say this film is ever trying to scare you. It's probably easiest to just call it Ozploitation. It's another 80s import penned by screenwriter
Everett De Roche, the man behind of the biggest and best Ozploitation titles like
Patrick,
Long Weekend,
Razorback one of my favorites:
Fortress, but it's not almost not even fair to the "exploitation" half of the "Ozploitation" label. I mean, it has its moments of brief nudity and a more than satisfying amount of unnatural spectacle. It's certainly fun and weird, but its meter leans more towards Classy than Trashy. It's smartly assembled and very well acted; you could almost pass it off as a classic
Dennis Potter teleplay for the BBC except maybe for what happens to the maid. If you can imagine a combination of
The Visitor and
Brimstone and Treacle, you've pretty much arrived at this movie.
In the special features they talk about how they originally wanted
David Bowie for the lead role, which makes perfect sense... but they might've actually been better off with Powell. Well at least in terms of artistic product, maybe not box office. And speaking of performances, he might've had these types of roles on speed dial by now, but Oscar winner
Broderick Crawford (
All the King's Men,
The Private Files of J. Edgar Hoover) is still pretty unforgettable as the political heavy who'd grown used to pulling everyone's strings. Even the kid is pretty good. I just saw
A Simple Favor yesterday, and boy, was that a rough reminder of how child performances can be a serious sand trap even for the major Hollywood players. This isn't one for the gore hounds, but if you get this movie and don't dig it, try showing it to your parents.
This film's seen a couple of interesting releases, all sorts of half special editions. Image first put it out on DVD here in the US, with a nice widescreen transfer and audio commentary in 2004. And naturally Umbrella/ Shock put it out in Australia shortly after. Then Synapse re-released it as a special edition in 2008, albeit with no new features or anything. Scorpion Releasing finally gave it its HD debut in 2013 with their limited edition blu-ray, which still basically just had the commentary and little else to demarcate it a special edition. But then 88 Films jumped into the fray with their limited and more genuinely special edition blu. And now Indicator/ Powerhouse has entered the picture, restoring the film in 4k with even more features on their limited BD (4000 units) and UHD (6000 units) editions.
 |
| 1) 2013 US Scorpion BD; 2) 2018 UK 88 Films BD; 3) 2025 UK Indicator UHD. |
Well, 88 may've made a fancier edition than Scorpion, but they didn't come up with a new transfer. Not that I was too disappointed since I wasn't exactly counting on one - if they'd paid for a new scan, they'd've been spelling it out in the marketing. No, I was expecting something pretty close, and this is nothing if not close to the Scorpion blu. I was able to match very slow-moving frame grabs by spotting identical flecks; they're virtually identical. And the original transfer wasn't exactly showroom floor material in the first place. But I'm not sure that's so much anything the labels are doing wrong so much as just the source material being a little dodgy. Like, look at how smeary the letters are on the title card, with the whites of the small print bleed into each other. Sure, it's better on the UHD, but it's not exactly crisp.
 |
| 1) 2013 US Scorpion BD; 2) 2018 UK 88 Films BD; 3) 2025 UK Indicator UHD. |
Which is probably why, in their booklet, Indicator promises, "[n]o grain management, edge enhancement or sharpening tools were employed to artificially alter the image in any way" (appreciated! Thank you, Indicator). There's a softness to the photography throughout, which is clearly intrinsic to the film, and I reckon that's just the way the filmmakers made that optical title card. Scorpion's packaging describes the transfer as "Brand New 16 x 9 (2.35:1) Widescreen Master in HD from Original Vault Elements," which leaves things a bit vague. 88 got a bit bolder, touting "Restored HD master from the Original Negatives." And now Indicator clarifies theirs as a "[b[rand new 4k restoration from the original negative." Anyway, it looks like old 35mm film. Grain is evident, and light damage is persistent (less so on the new Indicator) but never to the point of distraction. Colors look a little faded. And that brings us to the only real distinction between the two blus. 88's is a shade darker, which I prefer, because again, the film looks faded. It's a minor distinction you'd never notice outside of a direct comparison like this, and certainly not a reason to double-dip, but the slim edge went to 88.
"Went" because the new UHD, of course, trounces them both. The most distinct improvement is the boldness of the colors. The new HDR looks fantastic, but I'm sure even their 1080p blu-ray puts the older discs weathered look to shame. A blue sky and blue sea instead of all white behind those credits? Imagine! It's bolder, far more vivid and pulls in more detail from the highlights and shadows that were blasted out in the previous editions. Look how much more you can see in Hemmings' lamp in that second set of shots, for example. The resolution isn't as much of a boon, because, as I already mentioned, the film has an inherently soft look; but the contrast and broader gamut make the image considerably more life-like and less aged. And the composition has been tweaked, too. While the aspect ratio is still 2.35:1, the framing has been adjusted, so we see a little more to the left of Godzilla in the first set of shots, and the top edge isn't clipping Hemmings' hair in the second.
Audio-wise, all three discs seem to have the same mix, the original mono track, in DTS-HD on Scorpion, LPCM on 88 and back to DTS-HD for Indicator. But here's where 88 took a bigger step forward: they included English subtitles where Image, Synapse and Scorpion had none. Thankfully, Indicator has them now, too.
For many, the bigger competition may be taking place in the special features department, anyway. So let's start with Scorpion. Their main feature is the same audio commentary that's been around since the Image days with director
Simon Wincer and producer
Anthony I. Ginnane. It's quite good, though. They're very involved and have a lot to say. The other bits are mainly hold-overs from the DVDs, too. There's an isolated musical score track, and the original theatrical trailer under the alternate title,
Dark Forces. Scorpion adds one thing, though, a
Katrina featurette where she gives her usual overview on the film details, and even dresses up in a harlequin costume for some, uh, interpretive dance? There's also a couple bonus trailers and some cool interior artwork showcasing
Harlequin's many colorful posters.
Now, I wasn't expecting 88 to mess with the Katrina skit, but I'm a little surprised they dropped the isolated music track, since that's also been a staple of all the past DVD releases. They got the important thing, though: the commentary. And even more importantly, they got a bunch more that no previous release has ever had. They have a new, on-camera interview with everyone's favorite critic
Kim Newman, who mostly gives a general overview of Ozploitation in general, but does touch on
Harlequin specifically as well. And there's a brief, vintage television interview with Hemmings and Powell, which is rather silly. The host keeps talking about how she's so taken with the two of them and doesn't ask them much about the film except how it must be hard to shoot a film out of sequence. But I'm glad 88 uncovered it; it's fun.
Most significantly, however, is a roughly hour long collection of on-camera interviews with Wincer, Ginnane, De Roche and actor
Gus Mercurio. Now, the interviews start with a bit of disclaimer that, "[t]he following interviews were conducted by director Mark Hartley for his documentary NOT QUITE HOLLYWOOD (2008)." It's been a long time since I've watched that film, but to be clear, while these interviews were surely for that doc as described, I'm fairly certain these are not just clips lifted from that film (or its many DVD special features). These are in-depth interviews all about
Harlequin, not just Australian horror in general, and really just what a
Harlequin special edition calls for. They're very forthcoming about everything from the commercial aspects of making this film for an international market to working around some of the cast members' alcoholism. Also, instead of the
Dark Forces trailer, they have a
Harlequin-titled trailer. 88's blu comes with reversible artwork, the other side matching Scorpion's. And limited initial pressings also include an 8-page full color booklet with notes by
Calum Waddell and some cool poster art, plus an attractive slipcover.
And now Indicator? They carry over everything from the 88 disc, and
happily, the isolated score is back. Better still, they've come up
with even more new extras. There's a short on-camera interview with the
screenwriter from 2007 taken from a local Australian television
station. And there are audio-only interviews with the director,
associate producer and production designer. These suckers are long (the
director's is feature length!), so buckle in, but the latter two have
never been interviewed for this film on disc before, so they're very
welcome additions. And there's a new expert interview (in addition to
Newman's) by Australian film historian
Stephen Morgan. We also get three trailers, three
galleries, and at least for these initial limited runs, an impressive
80-page booklet. It's all housed in a tough side-loading box, and yes, the little J-card passes
Grindhouse Mike's "does it fit in the box," albeit not ideally (it sticks out past the book and disc case ever so slightly).
 |
| Just back from The Phantom Zone, apparently. |
As a genuine fan of this film, I've been only to o happy to triple-dip for the 4k upgrade and new special features. The jump from Scorpion to 88 was a real "for enthusiasts only" move, but I can recommend the jump from either of those to the Indicator more broadly. And yeah, if you're purchasing this film for the first time, this is the easily definitive and obvious choice. I'm a little surprised this film got such high-end treatment, but it seems like the Australian film market takes good care of its cult titles.
