NARROW MARGIN: 4K UHD Blu-ray (Carolco, 1990) Kino Lorber

Remakes are rarely as good as the original that spawned them. Occasionally, however, inspiration is derived by rebooting a good idea, made all the more engaging by mildly updating its premise. Peter Hyam’s remake of Richard Fleischer’s The Narrow Margin (1952) - foreshortened to simply, Narrow Margin (1990) - is a prime example: a taut and exhilarating thriller, set aboard the confined spaces of a speeding train on route through the picturesque Canadian Rockies. Fleischer’s original movie was a B-budgeted noir thriller, shot on a shoe-string for RKO, using rear projection plates to sell its wares. Not bad and still worth a look, what with its square-jawed Johnny Dollar of a detective, played to perfection by rough n’ rumpled, Charles McGraw, using the venomous black-wigged and pancake makeup-ed Marie Windsor as his decoy - the pair, pursued by ruthless hitmen. The Narrow Margin worked splendidly because of the antagonistic chemistry between McGraw and Windsor - pit bull vs. cobra. Narrow Margin - the remake - cannot afford such a luxury, audience’s tastes having shifted to a more sympathetic heroine in peril and the presumably butch crime fighter who can save her from a fate worse than... Yet, herein, Hyam goes for the unexpected, casting middle-aged and hunched-shouldered Gene Hackman, balding, arrogant, and, physically unprepossessing, as assistant D.A. Robert Caulfield, a man of wits instead of muscle, and slightly bungling as our would-be hero. Hackman’s ability to resonate as that vanguard of safety and security speaks to his considerable raw talent. But Hyam’s screenplay, cribbing heavily from the precepts of Earl Felton’s original (itself, based on a story idea by Martin Goldsmith and Jack Leonard), manages an even more remarkable coup – to give us a story we have essentially already seen, yet in a way, as yet, unanticipated, expanding upon the location work with a heftier budget.

There are several reasons why Narrow Margin succeeds where other remakes have failed, not the least in Hyam’s slick direction and moody cinematography, seamlessly matched by Bruce Broughton eerily unsettling underscore (ironically channeling shades of John Carpenter’s compositions for The Fog, 1980). The film is also justly famous for several exhilarating set pieces. These include a daring downhill escape through the Canadian Rockies in a weather-beaten pickup. The action here is at odds with the picturesquely remote and serene mountaintop log cabin locale, the latter expressly built under Hyam’s specifications by production designer, Joel Schiller. Hyam, had approved of this location while the mountain was still blanketed in heavy snow. Alas, when the white and fluffy dissipated, Hyam was to discover, and much to his horror, the site was actually a landfill, requiring considerable cleanup before principal construction could begin. The other reason Narrow Margin works is because of its flip-flop of the original’s essential plot twist. In The Narrow Margin, Marie Windsor’s viper-tongued Mrs. Frankie Neal is a lure to keep the criminal element at bay, masking the true identity of the real eyewitness already under federal protection, Ann Sinclair (played with antiseptic Polly-Pure-Predism by Jacqueline White).

Hyam’s remake gives us the good girl first, rechristened Carol Hunnicutt (Ann Archer) - just the wrong gal in the wrong place at the wrong time, observing the brutal execution of high-priced attorney, Michael Tarlow (T.J. Walsh), whom she agreed to meet on a blind date, after following him up to his hotel suite at the Four Seasons Hotel. This makes Carol the only person alive who can identify Leo Watts (Harris Yulin) as the criminal kingpin and puppet master responsible for the murder, and subsequently, assistant D.A. Robert Caulfield’s (Gene Hackman) newest ‘best friend’. Caulfield has been after Watts for almost a year, piecing together his involvement in various underworld activities. But what it all boils down to is a lot of circumstantial evidence. What Caulfield really needs is a smoking gun; a flesh and blood bystander, brave enough to point the finger at Watts in a court room.

Fearing for her life, Carol disappears to a secluded cabin in the woods, praying against fate, she will not be discovered by anyone.  Instead, Caulfield arrives via truck with local law enforcement, Sgt. Dominick Benti (M. Emmett Walsh), easily dispatched by Watts’ henchman, Jack Wootton (Nigel Bennett) and his right hand, Nelson (James B. Sikking). The pair descend on this mountaintop retreat via helicopter and force Carol and Caulfield into a harrowing escape down the mountainside in a pick-up. Arriving at a remote railway station, Caulfield feigns he and Carol are married, and furthermore, that she is pregnant, securing a private car from an elderly couple (Antony Holland and Doreen Ramos) after realizing all available space aboard is occupied. One thing bothers Caulfield - exactly how these paid assassins knew where to find Carol.

Before departing for their rendezvous at the cabin, Caulfield told no one of his plans except his superior, D.A. Martin Larner (J.A. Preston), then in conference with another Assistant D.A., James Dahlbeck (Kevin McNulty). From the outset, Carol is a very hostile witness, refusing to testify for Caulfield against Watts. But then, Caulfield appeals to her sense of morality. Also, her sense of duty – reminding her how Benti was sacrificed so she might live. Caulfield orders Carol to stay in their private compartment, hurrying to the dining car to scope out the competition. Almost immediately, Caulfield is confronted by Nelson and Wootton. Nelson cordially offers Caulfield a very enticing bribe if he will simply look the other way, while nodding in the direction of hie eye witness they, as yet, have not been able to identify on their own. Caulfield toys with the prospect before turning them down.

The middle act of Narrow Margin antes up this game of cat and mouse with a scheduled midnight stop at the last depot before the train crosses the border into the U.S. Caulfield telephones Larner, revealing that Dahlbeck is an informant for Leo Watts.  A confrontation between Wootton and Caulfield ensues. Caulfield barely escapes using an old western trick, tossing pebbles in the underbrush to distract the assassin while he climbs back aboard the train slowly pulling out from the station. Caulfield also meets Kathryn Weller (Susan Hogan), a seemingly insecure/newly divorced woman of means who attempts a romantic flirtation. Caulfield pretends to enjoy their conversation, perhaps, cynically conscious that if the assassins see Kathryn with him, they might erroneously presume she is the woman they are after instead of Carol. Things, of course, reach a fever pitch when Caulfield suffers an attack of conscience after Nelson and Wootton have actually seen Kathryn in his company. Now, he has placed two women in peril…or so it would seem. Caulfield hurries Kathryn into the conductor’s car. Having earlier befriended the train’s detective, Keller (B.A. 'Smitty' Smith), Caulfield leaves Kathryn in his care as he hurries off to collect Carol, moving her from compartment to compartment.

Returning for Kathryn, Caulfield discovers Keller lying dead with his throat slit. Nelson and Wootton resurface, seeing Carol for the first time and pursuing her and Caulfield to the rooftop as the train hurtles along a stretch of track perilously winding its way around some very steep and heavily wooded mountain terrain. Caulfield manages to wrestle Nelson and Wootton off the train and to their deaths. But now, he and Carol are confronted by Kathryn, who also proves to be part of Leo’s goon squad, pointing her pistol at the couple. At the last possible moment, Caulfield and Carol are spared the inevitable when Kathryn fails to realize a low tunnel fast approaching. She is swept off the roof with a bone-crushing thud, leaving Carol unharmed. We dissolve to a shot of Carol testifying against Watts in a court of law as Caulfield looks on with pride.

Narrow Margin is a diverting thriller long overdue for rediscovery, its flaws – some of them glaring – effectively camouflaged by Hyam’s expert staging. Also, by the convincingly antagonistic chemistry between Gene Hackman and Ann Archer. Hey folks – it’s only a movie. So, let us set aside a fair amount of the complications arising as the result of characters whose motivations are slightly askew to downright foolhardy: the first, the lynch pin kicking off our story - Carol going to the suite of a man she has never met before, merely because he says he needs to make a private phone call. Okay, I’ll bite. Setting aside the even more obvious suggestion, Michael Tarlow might be a sexual predator, if, in fact, he needs privacy while on the telephone, then why is he bringing an unknown gal/pal upstairs to overhear what he has to say?  After witnessing Tarlow’s murder, Carol escapes to a friend’s cabin for her own safety… except, this ‘never seen’ friend then tattles on Carol’s whereabouts to the police, thereby bringing down the wrath of Leo Watts and his cronies. Dumb friend. Or some friend indeed!  Caulfield spends a goodly portion of the plot needlessly and deliberately placing himself in peril; outfoxing and antagonizing the baddies, while seriously anteing up the likelihood they will discover Carol’s hiding place in his absence (or even, his presence). Kathryn’s flirtations, although obvious, are not enough for Caulfield to take her back to his compartment, even after she has been seen by Nelson and Wootton. If he had taken Kathryn to meet Carol she could have disposed of both Carol and Caulfield in one fell swoop. Again, to paraphrase Alfred Hitchcock “It’s only a movie!”

What matters is the level of suspense and suspension in disbelief derived from these improbabilities. Is the narrative sustainable on such absurdities without ever coming off as far-fetched? Arguably, yes. And director, Hyams has delivered a skillfully assembled thrill ride, imbued with a lingering sense of dread, despite its immeasurable scenic allure.  Here is a thriller that looks very good, but never forgets its primary objective is to mildly unsettle. The stark, natural landscape of the Canadian Rockies glistens in noonday sun, with quaint ‘out-of-the-way’ cottages and depots dotting its rugged landscape. Even so, everything is tinged with a sort of unspoken code of mystery, compounded once we board the dimly lit and claustrophobic train interiors somehow simultaneously cozy, yet constricting. Narrow Margin aptly updates the premise of its noir predecessor, altering that movie’s fundamental DNA without damaging the overall impact of the remake. Hyams’ remake trades cinematographer, George E. Diskant’s economic B&W chiaroscuro lighting for a palpable, and, even more disquieting high-key gloss treatment in Panavision and Technicolor. Ironically, this works just as well to maintain nail-biting tension. In the final analysis, Narrow Margin is an attractive looking, entertaining anecdote for modern-day heroism, its protagonists refreshingly not borrowed from Hollywood’s perennially revived conventions and clichés. 

Carolco Picture’s turbulent history as an independent producer/distributor of theatrical product led to Artisan Home Video’s acquisition of its catalog, releasing a rather lackluster DVD of Narrow Margin back in 1997. Until today, we have had to grapple with that ridiculously poor offering. Two years ago, Kino Lorber rectified that sin by releasing Narrow Margin on Blu-ray, with a transfer derived of elements given a much-needed 4K scan. Now, Kino has given us a native 4K release. And the improvements are notable. Overall image clarity snaps together. For the first time, the dimly lit interiors evolve with subtle nuances in color and detail that make everything appear natural. Color density and saturation are bang-on. The views of the Canadian Rockies are exquisitely handled. Much of Narrow Margin takes place at night, or, inside dimly lit train interiors. The 4K takes it all in stride.

There is a natural patina of film grain, complimentary to the subtly contrasted interiors. Flesh tones mark the biggest overall improvement. Previously, they had a tendency to lean toward homogenized orange. We get the same two audio options that were available on Kino’s Blu: an original 2.0, and, a newly remastered 5.1 DTS. The 5.1 gets the slightest edge – exhibiting subtle spatial separation. But actually, the 2.0 sounds pretty solid. We get two audio commentaries, the first, a legacy track from Peter Hyams recorded for the DVD, the second, recorded for the Blu by historian, Peter Tonguette. Both are well worth your time, as is the selected ‘extras’, to include a vintage ‘making of’, a few brief interviews, and some B-roll outtakes.  Bottom line: while the critics in 1990 savaged Narrow Margin as an inferior thriller, time has been exceedingly kind to Hyman’s efforts. Hackman and Archer have wonderful chemistry here, and, the exotic locales add immensely to the thrills. Good stuff.  Better in 4K. Enjoy!

FILM RATING (out of 5 - 5 being the best)

3.5

VIDEO/AUDIO

4.5

EXTRAS

3.5