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Der große Coup
Weitere Versionen auf DVD | Edition | Disks | Preis | Neu ab | Gebraucht ab |
DVD
19. März 2015 "Bitte wiederholen" | Special Edition | 2 | 25,00 € | 18,07 € |
DVD
7. November 2007 "Bitte wiederholen" | IT Import | 1 | 55,70 € | 48,87 € |
DVD
29. Januar 2010 "Bitte wiederholen" | — | 1 | 49,99 € | — | 49,99 € |
DVD
14. Februar 2008 "Bitte wiederholen" | Collector's Edition | 1 | — | 24,99 € |
Direkt ansehen mit | Leihen | Kaufen |
Der große Coup | — | — |
Genre | Action, Thriller & Krimi, Spielfilm |
Beitragsverfasser | Baker, Joe Don, Matthau, Walter, Farr, Felicia, Siegel, Don, Robinson, Andrew, North, Sheree |
Sprache | Deutsch, Englisch |
Laufzeit | 1 Stunde und 46 Minuten |
Was kaufen Kunden, nachdem sie diesen Artikel gesehen haben?
Produktbeschreibungen
Charley Varrick überfällt kleine Banken, so dass die Polizei ihn aufgrund seiner relativ geringen Beute immer nur kurz verfolgt. Doch dann überfällt Charley die Tres Cruess Bank und alles gerät außer Kontrolle. Es gibt zwei Tote, darunter auch seine Frau Nadine, die von einen Polizisten angeschossen wird.
Charley findet heraus, dass die Beute viel höher ist als angenommen. Das größte Problem jedoch: Das Geld gehört der Mafia. Molly, der bei der Mafia arbeitet, ist Charley dicht auf dem Fersen.
Bonusmaterial:
Deutscher Originaltrailer; Bildergalerie; etc;
Produktinformation
- Seitenverhältnis : 16:9 - 1.85:1, 16:9 - 1.77:1
- Alterseinstufung : Freigegeben ab 16 Jahren
- Verpackungsabmessungen : 19,2 x 13,6 x 1,4 cm; 81,65 Gramm
- Regisseur : Siegel, Don
- Laufzeit : 1 Stunde und 46 Minuten
- Erscheinungstermin : 29. Januar 2010
- Darsteller : Matthau, Walter, Baker, Joe Don, Farr, Felicia, Robinson, Andrew, North, Sheree
- Untertitel: : Deutsch
- Sprache, : Deutsch (Dolby Digital 2.0), Englisch (Dolby Digital 2.0)
- Studio : Rough Trade Distribution
- ASIN : B0031NC6N2
- Anzahl Disks : 1
- Amazon Bestseller-Rang: Nr. 145,936 in DVD & Blu-ray (Siehe Top 100 in DVD & Blu-ray)
- Nr. 21,888 in Krimi (DVD & Blu-ray)
- Nr. 24,640 in Thriller (DVD & Blu-ray)
- Nr. 32,067 in Action & Abenteuer (DVD & Blu-ray)
- Kundenrezensionen:
Kundenrezensionen
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Spitzenrezensionen
Spitzenbewertungen aus Deutschland
Derzeit tritt ein Problem beim Filtern der Rezensionen auf. Bitte versuche es später erneut.
Der Film entstand in einer sehr guten Schaffensphase des Filmemachers, der sich mit Genremeisterwerken wie "Terror in Block 11" oder "Die Dämonischen" bereits in den 50er Jahren einen Namen machen konnte und ab 1968 innert von 5 Jahren weitere Klassiker schuf. Der bekannteste ist sicherlich der unsterbliche "Dirty Harry" - aber auch "Nur 72 Stunden", ""Coogans großer Bluff", Betrogen" und vor allem dieser "Charly Varrick" müssen sich hinter seinen bekanntesten Filmen nicht verstecken.
Der Thriller über einen geglückten wie missglückten Banküberfall erinnert auch an "The Getaway" von Sam Peckinpah. Vom Stil her und auch von der Story - beides Filme über Bankräuber und deren Flucht.
Bereits das Intro lässt auf einen Topfilm schließen - dort hält der Cinematograph Michael Butler mit seiner Kamera schöne Morgenimpressionen fest. Er filmt das Erwachen einer Kleinstadt und der Zuschauer sieht einen Jungen, der vergeblich einen Stier satteln will - es ist Charles Matthau, der Sohn des genialen Hauptdarstellers Walter Matthaus. Das kleine Mädchen, dass von einem Rasensprenger nass gemacht wird ist Kit. Don Siegels adoptierte Tochter.
Die Geschichte nach dem Roman "The Looters" von John Reese beginnt mit dem Ablauf eines Bankraubs in der ländlichen Gemeinde Tres Cruces in New Mexiko. Drahtzieher der Aktion ist der gerissene als Schädlingsbekämpfer getarnte Erzgauner Charley Varrick (Walter Matthau), der mal Stuntpilot war. Seine Frau Nadine (Jacqueline Scott) wartet im Wagen, während in der Bank bereits Charleys zwei Komplizten Al Dutcher und der junge Harman Sullivan (Andrew Robinson) auf ihn warten. Dann muss alles schnell gehen. Denn der vorbeifahrende Polizeiwagen könnte wiederkommen. Nadine ist bereit zu schießen. Auch die Gangster im Bankraum sind zu allem entschlossen. Tatsächlich gehts nur mit Gewalt. Al Dutscher stirbt vor Ort, Nadine ist verletzt und kann in letzter Sekunde mit ihrem Mann und Harman entkommen. Doch sie ist schwer verletzt und stirbt kurze Zeit später auf der Flucht. Obwohl der Filialleiter Harold Young (Woodrof Parfey) erklärt, dass nur 20.000 Dollar gestohlen wurde, sind Varrick und sein junger Partner erstaunt, denn sie haben einen Geldbetrag von 765.118 Dollar erbeutet. Das kann nur Mafiageld sein. Nicht nur die Bankräuber geraten deshalb in die Schußlinie der Mafia, denen das Geld gehört. Auch der angesehene Geschäftsmann Maynard Boyle (John Vernon) wird vom Syndikat verdächtigt, dass er das Geld unterschlagen hat. Denn ausser ihm und dem Filialleiter wusste keiner etwas davon, dass in dieser kleinen Bankfiliale soviel Geld lagerte. Daher kommt der Killer Molly (Joe Don Baker) ins Spiel, der sehr schnell Ergebnisse liefern kann. Eine Fotografin (Sheree North) führt ihn zum Wohnwagen der Verfolgten. Doch Charly Varrick bereitet sich ebenfalls darauf vor, dass die Mafia oder deren Killer bald vor der Tür stehen. Er nimmt Kontakt zu Sybil Fort (Felicia Farr), der Sekretärin von Boyle auf...
Es ist tatsächlich eine Freunde der Geschichte aufmerksam zu folgen. Am Ende ist klasse Action angesagt, doch es sind vor allem die großartigen Darstellerleistungen die den Film zu einem kleinen Meisterwerk machen und ihn auch in die Nähe von Coen Filmen wie "Blood Simple" oder auch an Arbeiten von Tarantino und Peckinpah erinnern lässt. Nicht umsonst erhielt Walter Matthau im Jahr 1974 den BAFTA Award als bester Darsteller des Jahres und die Warnung von Boyle an den Bank-Filialleiter, er würde nackt ausgezogen und mit Drahtzange und Lötlampe bearbeitet, wird von Tarantino in "Pulp Fiction" leicht abgewandelt wieder benutzt. Leider gelang Don Siegel damals mit diesem Spitzenfilm kein Kassenerfolg. Trotz dieser Enttäuschung hat sich der Film natürlich als Klassiker seiner Sparte etabliert und kann als intelligentes Action-Melodram noch heute gut begeistern. Dabei gelingt es Siegel von Anfang an, dass der Zuschauer mit einem Gangster wie Varrick mitfiebert. Siegels Stil ist zwar nüchtern, aber er skizziert seine Figuren sehr genau fast schon beiläufig eingebettet in dem spannenden Handlungsablauf. Und der Zuschauer ist gespannt wie diese Charaktere reagieren werden. Trockener und schwarzer Humor ist eine zusätzliche Würze in Siegels Film, der am Ende noch Varricks Flugkünste feiert
CHARLEY VARRICK (dt. Der große Coup) aus dem Jahr 1973 ist ein knallharter, spannender Krimi, von Don Siegel gewohnt straff und schnörkellos inszeniert und glänzend besetzt. Wie schon in THE TAKING OF PELHAM ONE TWO THREE (dt. Stoppt die Todesfahrt der U-Bahn 123) präsentiert sich Knautschgesicht Walter Matthau als Charley Varrick durchaus überzeugend in einer betont ernsten Rolle, auch wenn er sie mit staubtrockenem Humor spielt. Eine echte Glanzleistung bietet Joe Don Baker als Molly. Der hünenhafte Schläger mit dem Babyface verbreitet vom ersten Moment an ein Gefühl der Bedrohung und der Angst und lässt keinen Zweifel daran, dass man sich besser nicht mit ihm anlegen sollte. Leider bleibt Varrick keine andere Wahl, doch der alte Gauner hat noch ein paar Asse im Ärmel...
Fazit: Grundsolider Thriller von der ersten bis zur letzten Minute und deshalb immer wieder sehenswert.
Spitzenrezensionen aus anderen Ländern
Born of Lithuanian and Ukrainian Jewish parents in New York’s Lower East Side, Walter Matthau was a comedian who had always loved practical jokes, as much as he was an actor. Many of his best film roles were in comedies or humorous movies, and he won the Supporting Actor OSCAR for the black comedy ‘The Fortune Cookie’(1966). His face was made for comedy. So Matthau playing a baddie, even if his baddie is less bad than many he finds himself up against, is something of a surprise. And yet, he is very good, although even here, in quite a violent and darkly-hued neo-Noir, he does manage to occasionally convey a certain wry humour.
The film was based on a 1968 novel, ‘The Looters’, by crime and western author, John H Reese. It is a sizzlingly good, brilliantly clever, very well-scripted story, with plenty of action, twists and turns, devious side-steps, and masses of exciting, high octane, jeopardy. The film motors along, maintaining a brisk pace for the whole 111 minutes. The director was Don Siegel, whose reputation was built on energetic, often violent, action films, such as this. He’d previously made ‘Dirty Harry’(1971) and ‘Coogan’s Bluff’ (1968) with Eastwood, and ‘Madigan’(1968) with Henry Fonda and Richard Widmark. This film is undoubtedly amongst his best.
‘Varrick’ was filmed in Nevada, doubling as rural New Mexico, and it is suitably scenic and dusty. The cinematography is very good, and the picture does not have that strange mustard-coloured tint, often so intrusive on 1970s films. It does however, have some horrible 1970s fashions and hairstyles; even worse, a lot of deliciously ugly 1970s American autos; worst of all, an iconic 1970s music score by Lalo Schifrin. It was clearly played on a steel comb and nail brush. Schifrin was nominated for 6 OSCARs!
Alongside Matthau, Seigel cast Andy Robinson, who made a chilling psychotic serial killer, Scorpio, in ‘Dirty Harry’. Here he is just a violent, aimless, bad boy, but he is again, very good. Two regulars of crime films of this era, Joe Don Baker and John Vernon (the latter also in ‘Dirty Harry’), are solidly unpleasant here, as mafia men. Eastwood had apparently been offered the role of Varrick, but turned it down, because, in truth, Varrick has no redeeming features. Probably, Matthau (who also reputedly was not over-fond of the role or the film, for the same reasons) was able to lift the role in a way that Eastwood may not have been able to. That lugubrious face, and wry practical joker’s twinkle, gives the character a certain humanity and likableness, for all his lack of virtue.
In the end, Matthau makes you cheer for him, despite all he has done, and all he is. He is the ‘little man’ taking on the big boys. Two cheers for Charley Varrick!
KL delivers on this one: TONS of extras - please see below.
Inexplicably rated PG - the violence and thematic turf portrayed here would earn an "R" nowadays. Keeps pace with other Don Siegel classics. Features supporting players (and Siegel regulars) such as Andy Robinson (Scorpio in Dirty Harry), John Vernon (Dirty Harry, Animal House, Point Blank), Norman Fell (The Killers) Woodrow Parfrey (Dirty Harry) and Sheree North (past her starlet prime, now metamorphosed into an eminently watchable character actress).
Especially good are Jacqueline Scott and tall and imposing - before he got chubby - Joe Don Baker (truly sleazy and menacing). Scott plays the lady in the car, Varrick’s aerial-stunting wife, who secretly takes a bullet through the car door and hangs on long enough to wheel the getaway vehicle out of range, and who, in an indescribably subtle, essentially wordless scene, makes and ratifies a contract for her husband to desert her. Baker, cast as a Stetsoned, suit-wearing gunman at the Organization’s beck and call, confirms his standing as one of the most dangerously dynamic young character actors from the 70s; the monumental violence of the man, so disturbingly out of directorial control in his Walking Tall Savior-with-a-big-stick role, is here mesmerizingly contained by both director and actor, whose most lethal gesture is to smile. Surely this was an inspiration for Woody Harrelson's character in The Coen Brothers' No Country For Old Men.
Moment by moment, Charley Varrick is amazing, from its breathtaking action montages to one of the most effectively sustained takes in filmdom: a Mafia junior exec (Vernon) sitting on a rail fence and slipping the bureaucratic shaft to bank manager Woodrow Parfrey (Dirty Harry, Planet of the Apes) while cattle low in the distance and a slant of afternoon sun dies along a verdant slope. And there’s this one scene - Charley Varrick contemplating Felicia Farr’s circular bed (in a rare moment of levity)—that is just…. put it this way: Varrick asks her how she sleeps—north to south? east to west?—and she says, “What’d you have in mind?” and he says, “What I had in mind was boxing the compass.” After (re) watching, I had about four different notions of what he meant, and they all coexisted pretty well. I didn’t know for sure, but coming out of Walter Matthau in a Don Siegel movie...well, oddly poetic. Then again, it's been said that Matthau is funny when he walks across a room. (I agree.)
Great outdoor photography juxtaposed with claustrophobic interiors: a trailer home, a small town bank, Chinese restaurant, a bordello, a gun shop, etc. It's worth noting that all seemingly "legitimate" businesses are fronts for Organized Crime.
A great companion to the urban crime thriller, The Taking of Pelham 1, 2, 3. and The Laughing Policeman - two other Walter Matthau crime thrillers.
(You can also toss in the vastly underrated Hopscotch - on Criterion. A comic CIA/ spy thriller with Matthau, Ned Beatty, Glenda Jackson and Sam Watterson - based on the Brian Garfield (Death Wish) for good measure. But I digress...)
Video:
Subtitled in English. I'm thankful that this is seemingly standard for KL lately. Inexplicably, subs were the exception, not the rule.
Kino brings Charley Varrick to Blu-ray by way of a new 4k scan of the original negative framed at 1.85.1 widescreen and presented in AVC encoded 1080p high definition on a 50GB disc. The picture quality here is excellent, rich in detail and texture and nicely cleaned up, retaining the expected film grain but showing no print damage at all. Skin tones look nice and natural and colors are very well reproduced. Black levels are also very good and there are no noticeable issues with compression artifacts, edge enhancement or noise reduction problems.
The Audio:
The English language 16-bit DTS-HD Mono track on the disc is clean and nicely balanced. Lalo Schifrin's score sounds quite good here and the dialogue is always easy to understand and to follow. The levels are nicely balanced and there are no problems with any hiss, distortion or sibilance.
The Extras:
Extras start off with an audio commentary by film historian Toby Roan who speaks about how and why it's one of his favorite movies while also offering up plenty of info about the picture. He starts off by talking about the Nevada locations used in the film and what it was like on set, how camera test footage wound up being used in the opening credits, how Matthau's son Charles shows up in the film (in some scenes that were directed by Matthau rather than Siegel), the tenderness of the final scene between Charley and Nadine, biographical details and other credits for pretty much every member of the cast and crew, Siegel's own cameo in the film, the details of some of the vehicles that are used in the film, the uniqueness of the way some scenes are staged (think Vernon at the playground), the precision of the film's pacing and editing, the influence of film noir on the picture and quite a bit more. It's a good track, there's a bit of dead air here and there but Roan knows his stuff and is conversational, insightful - lots of trvia, too. Worth listening to.
The disc also contains Refracted Personae: Iconography And Abstraction In Don Siegel's American Purgatory which is a look at Don Siegel's directorial style and the themes explored in Charley Varrick that comes courtesy of film historian Howard S. Berger which runs thirty-five-minutes in length. He traces Siegel's work at a low level for Warner Brothers as he climbed the ladder doing work here and there, directing his first feature in 1946, the storytelling skills that the director showed even this early in his career, his penchant for low budget (and often times violent) genre material, and how all this came to develop into Varrick's work. From there, we learn about the themes that are evident on the surface as well as some that aren't so obvious unless you start to dig a bit. A good example of this is the self-reflection that Berger sees in the film, the dual nature of every character in the film, the use of the American flag and religous iconography in the film and lots more. It's quite interesting - and not pretentious as the featurette's title might lead you to believe.
Also featured is the seventy-two-minute doc The Last Of The Independents: The Making Of Charley Varrick documentary that is made up of interviews with Kristoffer Tabori (Don Siegel's son), cast members Andy Robinson and Jacqueline Scott, stunt driver and actor Craig R. Baxley, composer Lalo Schifrin and Howard A. Rodman (screenwriter of the TC classic, Savage Grace and the son of Varrick's screenwriter). Titled after Siegel's originally intended title for the film, this is an excellent look back at the making of the picture that also includes plenty of insight into where Siegel's career was at this point, how his style evolved over the years and some of the themes that it explores. They also cover Matthau's involvement in the picture and what he was able to bring to the production (not all positive!) as well as scoring the picture, what it was like on set, taking direction from Siegel on this feature and quite a bit more.
The disc wraps up with trailers and TV spots, as well as the Trailers From Hell episode featuring Josh Olson (Cronenberg's A History of Violence) and Howard Redman (Savage Grace), a few KL trailers (The Taking Of Pelham 123, The Laughing Policeman, Madigan, The Black Windmill), menus and chapter selection.
Included inside the case along with the disc is a full-color limited edition booklet containing an essay on the film by film critic Nick Pinkerton entitled Charley Varrick: The Last Of The Independents as well as cast and crew information.
Great bluray!
Rezension aus den Vereinigten Staaten vom 15. November 2019
KL delivers on this one: TONS of extras - please see below.
Inexplicably rated PG - the violence and thematic turf portrayed here would earn an "R" nowadays. Keeps pace with other Don Siegel classics. Features supporting players (and Siegel regulars) such as Andy Robinson (Scorpio in Dirty Harry), John Vernon (Dirty Harry, Animal House, Point Blank), Norman Fell (The Killers) Woodrow Parfrey (Dirty Harry) and Sheree North (past her starlet prime, now metamorphosed into an eminently watchable character actress).
Especially good are Jacqueline Scott and tall and imposing - before he got chubby - Joe Don Baker (truly sleazy and menacing). Scott plays the lady in the car, Varrick’s aerial-stunting wife, who secretly takes a bullet through the car door and hangs on long enough to wheel the getaway vehicle out of range, and who, in an indescribably subtle, essentially wordless scene, makes and ratifies a contract for her husband to desert her. Baker, cast as a Stetsoned, suit-wearing gunman at the Organization’s beck and call, confirms his standing as one of the most dangerously dynamic young character actors from the 70s; the monumental violence of the man, so disturbingly out of directorial control in his Walking Tall Savior-with-a-big-stick role, is here mesmerizingly contained by both director and actor, whose most lethal gesture is to smile. Surely this was an inspiration for Woody Harrelson's character in The Coen Brothers' No Country For Old Men.
Moment by moment, Charley Varrick is amazing, from its breathtaking action montages to one of the most effectively sustained takes in filmdom: a Mafia junior exec (Vernon) sitting on a rail fence and slipping the bureaucratic shaft to bank manager Woodrow Parfrey (Dirty Harry, Planet of the Apes) while cattle low in the distance and a slant of afternoon sun dies along a verdant slope. And there’s this one scene - Charley Varrick contemplating Felicia Farr’s circular bed (in a rare moment of levity)—that is just…. put it this way: Varrick asks her how she sleeps—north to south? east to west?—and she says, “What’d you have in mind?” and he says, “What I had in mind was boxing the compass.” After (re) watching, I had about four different notions of what he meant, and they all coexisted pretty well. I didn’t know for sure, but coming out of Walter Matthau in a Don Siegel movie...well, oddly poetic. Then again, it's been said that Matthau is funny when he walks across a room. (I agree.)
Great outdoor photography juxtaposed with claustrophobic interiors: a trailer home, a small town bank, Chinese restaurant, a bordello, a gun shop, etc. It's worth noting that all seemingly "legitimate" businesses are fronts for Organized Crime.
A great companion to the urban crime thriller, The Taking of Pelham 1, 2, 3. and The Laughing Policeman - two other Walter Matthau crime thrillers.
(You can also toss in the vastly underrated Hopscotch - on Criterion. A comic CIA/ spy thriller with Matthau, Ned Beatty, Glenda Jackson and Sam Watterson - based on the Brian Garfield (Death Wish) for good measure. But I digress...)
Video:
Subtitled in English. I'm thankful that this is seemingly standard for KL lately. Inexplicably, subs were the exception, not the rule.
Kino brings Charley Varrick to Blu-ray by way of a new 4k scan of the original negative framed at 1.85.1 widescreen and presented in AVC encoded 1080p high definition on a 50GB disc. The picture quality here is excellent, rich in detail and texture and nicely cleaned up, retaining the expected film grain but showing no print damage at all. Skin tones look nice and natural and colors are very well reproduced. Black levels are also very good and there are no noticeable issues with compression artifacts, edge enhancement or noise reduction problems.
The Audio:
The English language 16-bit DTS-HD Mono track on the disc is clean and nicely balanced. Lalo Schifrin's score sounds quite good here and the dialogue is always easy to understand and to follow. The levels are nicely balanced and there are no problems with any hiss, distortion or sibilance.
The Extras:
Extras start off with an audio commentary by film historian Toby Roan who speaks about how and why it's one of his favorite movies while also offering up plenty of info about the picture. He starts off by talking about the Nevada locations used in the film and what it was like on set, how camera test footage wound up being used in the opening credits, how Matthau's son Charles shows up in the film (in some scenes that were directed by Matthau rather than Siegel), the tenderness of the final scene between Charley and Nadine, biographical details and other credits for pretty much every member of the cast and crew, Siegel's own cameo in the film, the details of some of the vehicles that are used in the film, the uniqueness of the way some scenes are staged (think Vernon at the playground), the precision of the film's pacing and editing, the influence of film noir on the picture and quite a bit more. It's a good track, there's a bit of dead air here and there but Roan knows his stuff and is conversational, insightful - lots of trvia, too. Worth listening to.
The disc also contains Refracted Personae: Iconography And Abstraction In Don Siegel's American Purgatory which is a look at Don Siegel's directorial style and the themes explored in Charley Varrick that comes courtesy of film historian Howard S. Berger which runs thirty-five-minutes in length. He traces Siegel's work at a low level for Warner Brothers as he climbed the ladder doing work here and there, directing his first feature in 1946, the storytelling skills that the director showed even this early in his career, his penchant for low budget (and often times violent) genre material, and how all this came to develop into Varrick's work. From there, we learn about the themes that are evident on the surface as well as some that aren't so obvious unless you start to dig a bit. A good example of this is the self-reflection that Berger sees in the film, the dual nature of every character in the film, the use of the American flag and religous iconography in the film and lots more. It's quite interesting - and not pretentious as the featurette's title might lead you to believe.
Also featured is the seventy-two-minute doc The Last Of The Independents: The Making Of Charley Varrick documentary that is made up of interviews with Kristoffer Tabori (Don Siegel's son), cast members Andy Robinson and Jacqueline Scott, stunt driver and actor Craig R. Baxley, composer Lalo Schifrin and Howard A. Rodman (screenwriter of the TC classic, Savage Grace and the son of Varrick's screenwriter). Titled after Siegel's originally intended title for the film, this is an excellent look back at the making of the picture that also includes plenty of insight into where Siegel's career was at this point, how his style evolved over the years and some of the themes that it explores. They also cover Matthau's involvement in the picture and what he was able to bring to the production (not all positive!) as well as scoring the picture, what it was like on set, taking direction from Siegel on this feature and quite a bit more.
The disc wraps up with trailers and TV spots, as well as the Trailers From Hell episode featuring Josh Olson (Cronenberg's A History of Violence) and Howard Redman (Savage Grace), a few KL trailers (The Taking Of Pelham 123, The Laughing Policeman, Madigan, The Black Windmill), menus and chapter selection.
Included inside the case along with the disc is a full-color limited edition booklet containing an essay on the film by film critic Nick Pinkerton entitled Charley Varrick: The Last Of The Independents as well as cast and crew information.
Great bluray!
I found it really absorbing.
Details zur Produktsicherheit
Siehe Compliance-Details für dieses Produkt(Verantwortliche Person für die EU).