CIA director Maxwell Danforth (Burt Lancaster) watches a recording of agent Laurence Fassett (John Hurt) and his wife having sex. When Fassett goes to the shower, two KGB assassins enter the bedroom and kill his wife. The CIA had in fact sanctioned her killing. Fassett, unaware of his employer's involvement, is consumed by grief and rage. He hunts the assassins, eventually uncovering a Soviet spy network known as Omega.
Fassett points to three men as the top Omega agents: television producer Bernard Osterman (Craig T. Nelson), plastic surgeon Richard Tremayne (Dennis Hopper) and stock trader Joseph Cardone (Chris Sarandon). Rather than arrest the three members, which would alarm the KGB, Fassett proposes to the CIA director that they turn one of them to the side of the West in order to unravel the entire network more efficiently. Fassett sees an opportunity in John Tanner (Rutger Hauer), a controversial television journalist who is highly critical of government abuses of power. Tanner has been close friends with the three men since all four were at Berkeley together, and Fassett believes Tanner can successfully turn one of them.
The CIA contacts Tanner and Fassett tells him that his closest friends are Omega agents. Although initially highly skeptical, Tanner becomes more convinced as Fassett shows him videotaped evidence of his friends talking with a Russian man, whom Fassett identifies as a KGB agent. In three different video clips, the Russian man discusses with Cardone the prospect of "targeting" Tanner, seeing him as a threat; Tremayne expresses his desire to leave the country when "it" goes down; Osterman talks about wanting to see "radical change" in the current system, but makes clear that he's only interested if paid handsomely, asking for a Swiss bank account. Tanner eventually agrees to try turning one of them at their annual reunion, which is coming up that weekend (these reunions are named "Ostermans", in honour of their initial sponsor), which this year is being held at Tanner's house; but only on the condition that Danforth, the CIA director, appear as a guest on his show. Danforth agrees to this condition.
Tanner's troubled marriage is not improved when he asks his wife, Ali (Meg Foster), to take their son out of town for the weekend so the two of them would miss the reunion. He does not want them involved but cannot tell her why, which upsets her. Fassett tells Tanner that his family is safer at home where the CIA can keep an eye on them, but Tanner disagrees. While driving his wife and son to the airport, their car is ambushed, and Ali and the child are kidnapped. With Fassett's intervention, they are rescued unhurt and the kidnapper is shot dead. In the meantime, Tanner's home has been wired with closed circuit video so Fassett can gather more evidence. Now that Ali is aware Tanner is involved in espionage activity (although not knowing the details), Tanner has her and their son stay at the house for the weekend. Fassett sets himself up in a large van on the grounds with a squad of CIA agents on the outskirts of Tanner's property.
Osterman, Tremayne and Cardone arrive for the weekend, each having recently encountered difficulties engineered by the CIA in order to unsettle them. Consequently, the mood is tense. On the second night, Fassett sends a video feed to Tanner's dining room television, showing a clip about Switzerland that focuses on Swiss bank accounts and illegal financial manipulation. Virginia, Tremayne's wife, becomes furious, and Ali punches her in the face. Osterman tells Tanner that he's getting himself into something out of his depth, and everyone retires to their rooms. Soon after, Tanner's son discovers the severed head of the family dog in the refrigerator, but it turns out to be fake. Tanner has had enough and demands that his guests leave. Tanner confronts Fassett and insists he arrest the suspects. Fassett sends an order to the CIA guards to kill Osterman, who is an expert in martial arts and kills one of them barehanded.
Cardone and Tremayne and their wives escape in Tanner's RV. Tanner confronts Osterman and assaults him. Osterman easily overpowers him and demands an explanation. Tanner says that he knows that Osterman and his friends are Soviet agents. Osterman dismisses the accusation and explains that they have been illegally sheltering money in Swiss bank accounts to avoid taxation, but insists they are not traitors.
Fassett appears on the television and admits that he knows Osterman and his friends are only tax evaders. Fassett kills the Tremaynes and Cardones by remotely detonating an explosive device on the RV. He sends his soldiers into the house to kill Osterman and Tanner. Fassett taunts Tanner during the attack on the house, revealing that Danforth authorized his wife's murder. Fassett offers to release Tanner's family if Tanner will expose Danforth on television.
Sometime later, Danforth prepares for his remote interview with Tanner. Danforth is at his office and will speak into a camera and microphone crewed by the TV station. Tanner introduces Fassett on the air and Fassett, who is also being filmed remotely, exposes Danforth as a murderer. Danforth becomes enraged when he realizes that he has been tricked, publicly unleashing a paranoid diatribe and threatening Fassett with assassination. Fassett's remote location is a secret, but it is clear someone is coming for him. It is revealed that Tanner himself has pre-recorded his questions for both men with Osterman's assistance, and has used the video feed to locate Fassett, whom he shoots and kills. The angle from which Fassett's death is captured protects Tanner's anonymity, thereby appearing to confirm Danforth's threats in real time. Tanner then rescues his wife, his son, and his dog.
In addition, Merete Van Kamp makes a brief appearance as Fassett's wife, whose murder sets the plot in motion.
Production
William Castle initially purchased the film rights and asked author Ludlum to write the script. Ludlum was reluctant. Despite his extensive film and theatre experience, he said "I didn't leave that crowd of ocelots to go back into it."[2]
As related in the documentary Alpha to Omega: Exposing The Osterman Weekend, producers Peter S. Davis and William N. Panzer were celebrating the wrapping of a film when they ran into Larry Jones. Jones, also a producer, revealed that he owned the film rights to Robert Ludlum's 1972 novel The Osterman Weekend, but was giving up on turning it into a feature film since he had not been able to develop a satisfactory screenplay. Davis and Panzer immediately offered to purchase the rights, as they felt this could be the project that elevated them out of the B-movie features that they had been financing up to that point. Jones and a partner agreed, and Davis and Panzer began pre-production.
The first order of business was to adapt Ludlum's complex story, and for this they hired Ian Masters. Davis claims that Masters followed conspiracy theories and closely paid attention to the CIA's activities throughout the world. After Masters developed the script's groundwork, Alan Sharp was hired to work on characters and dialogue.
With the screenplay completed they went looking for a director, and an offhand comment led them to Sam Peckinpah, the controversial and troubled man who had helmed The Wild Bunch (1969) and Straw Dogs (1971). Suffering from a damaged reputation due to alcohol and drug addiction (noted most recently on the set of his 1978 film Convoy), Peckinpah had been given the opportunity to do second unit work on Don Siegel'sJinxed! in 1981. The competence and professionalism he displayed made it possible for him to be considered as director of The Osterman Weekend.[3]
Many studios did not want to work with Peckinpah because of his antagonistic relationship with producers. Additionally, the director's health was poor. Davis and Panzer were undaunted, because they felt that having Peckinpah's name attached to their film would lend it an air of respectability. Due to the director's damaged reputation, the producers were forced to seek financing from independent sources.
According to the commentators on the film's special edition DVD,[citation needed] Peckinpah hated Ludlum's novel and he did not like the screenplay either. Peckinpah requested and was given permission to work on the script himself, but after submitting his first few pages the producers forbade him from any more rewrites.
In Marshall Fine's book Bloody Sam, screenwriter Sharp said that he himself did not like the screenplay he had written, and that he found it incredible that Davis and Panzer used his draft as the shooting script. Fine also wrote that Ludlum had stated to his friend Jason Robards that he would provide a free rewrite; if this is true the producers never accepted his offer. In spite of his distaste for the project, Peckinpah immediately accepted the job as he was desperate to re-establish himself within the film community.[4]
Multiple actors in Hollywood auditioned for the film, intrigued by the chance of working with the legendary director. Many of those who signed on, including John Hurt, Burt Lancaster and Dennis Hopper, did so for less than their usual salaries for an opportunity to work with Peckinpah. Rutger Hauer, fresh from the success of Blade Runner, was chosen by the producers for the lead role.[5] For the film's primary location, the Tanner household, the filmmakers chose Robert Taylor's former residence in the Mandeville Canyon section of Los Angeles, the "Robert Taylor Ranch".
Peckinpah managed to keep up with the 54-day shooting schedule and within a budget of just under $7 million, but his relationship with the producers soon soured and he became combative. The cast greatly respected him and said that Peckinpah put everything he could into directing the picture in spite of his physical exhaustion and health problems.[citation needed]
By the time shooting wrapped in January 1983, Peckinpah and the producers were hardly speaking. Peckinpah delivered the film on time and on budget, submitting his director's cut to the producers.[5]
This version was screened once on May 25, 1983.[citation needed] Test audiences reacted unfavorably and many walked out of the theater during the first few minutes. Peckinpah opened with a distorted image of Fassett and his wife making love, and the way he had edited the scene made it difficult for the audience to discern what was going on.[citation needed]
Panzer and Davis were hoping that Peckinpah would re-edit the film himself because they did not desire to antagonize him any further, but the director refused to make changes. Peckinpah had also filmed several satirical scenes, subtly ridiculing the product.[6] As a result, the producers felt they had no choice and effectively fired Peckinpah and re-edited the film themselves.[7]
The producers changed the opening sequence and deleted other scenes they deemed unnecessary. Peckinpah proclaimed that producers had sabotaged his film, a complaint he also made after filming Major Dundee (1965) and Pat Garrett and Billy the Kid (1973).
Release and reception
The film was not a blockbuster, though it grossed $6 million domestically and did extremely well in Europe and on the new home-video market.[6] Theatrical distribution was handled by 20th Century Fox.
Critical response
Critics reacted unfavorably towards the film, with one of the common complaints being that the story was full of plot holes. Roger Ebert wrote, "I do not understand this movie. I sat before the screen, quiet, attentive and alert, and gradually a certain anger began to stir inside me, because the movie was not holding up its side of the bargain. It was making no sense. I don't demand that all movies make sense. I sometimes enjoy movies that make no sense whatsoever, if that's their intention. But a thriller is supposed to hold together in some sort of logical way, isn't it?'"[8] The Chicago Reader's Dave Kehr has stated, "The structure is a mess...which ultimately makes it too difficult to tell whether its oddly compelling qualities are the result of a coherent artistic strategy or the cynical carelessness of a director sidelined." Vincent Canby of the New York Times wrote that it was "incomprehensible" and "full of gratuitous sex and violence", but "has a kind of hallucinatory craziness to it".[9] It currently holds a 45% approval rating on Rotten Tomatoes from 20 reviews.[10]
Home media
Thorn EMI picked up the initial video rights; a laserdisc edition was published by Image Entertainment. It is currently available on DVD and Blu-ray from Anchor Bay Entertainment, which has included the director's cut of the film on its DVD release, but sourced from a low-quality, full-screen videotape.
In 2022, the Australian distributor Imprint released a 2-disc limited edition Blu-ray of The Osterman Weekend. Disc 1 includes a 1080p high-definition presentation of the theatrical cut in 1.78:1 aspect ratio and an alternative unrestored presentation of the film in 1.66:1 aspect ratio scanned from a 35mm German print. Disc 2 includes a 1080p high-definition, unrestored 2K scan of the director's cut sourced from Sam Peckinpah's personal 35mm negative. The release also includes two audio commentaries and several documentaries, including the feature documentary Alpha to Omega: Exposing “The Osterman Weekend”.
Alpha to Omega: Exposing The Osterman Weekend
Alpha to Omega: Exposing The Osterman Weekend is a 2004 documentary about the making of The Osterman Weekend. It was included as a special feature on Anchor Bay Entertainment's 2004 DVD release of the film. Featuring interviews with many members of the cast and crew, it not only examines the process of bringing Ludlum's novel to the screen, but also provides a portrait of Peckinpah's approach to the filmmaking process and of his frame of mind and physical health following years of substance abuse. It was directed by Jonathan Gaines, who co-wrote it with Michael Thau, who was also the editor.
Dennis Lee Hopper was an American actor and film director. He is known for his roles as mentally disturbed outsiders and rebels. He earned prizes from the Cannes Film Festival and Venice International Film Festival as well as nominations for two Academy Awards, a Primetime Emmy Award and two Golden Globe Awards. Hopper studied acting at the Old Globe Theatre in San Diego and the Actors Studio in New York. Hopper also began a prolific and acclaimed photography career in the 1960s.
David Samuel Peckinpah was an American film director and screenwriter. His 1969 Western epic The Wild Bunch received an Academy Award nomination and was ranked No. 80 on the American Film Institute's top 100 list. His films employed a visually innovative and explicit depiction of action and violence as well as a revisionist approach to the Western genre.
Donald Siegel was an American film and television director and producer.
Robert Ludlum was an American author of 27 thriller novels, best known as the creator of Jason Bourne from the original The Bourne Trilogy series. The number of copies of his books in print is estimated between 300 million and 500 million. They have been published in 33 languages and 40 countries. Ludlum also published books under the pseudonyms Jonathan Ryder and Michael Shepherd.
The Wild Bunch is a 1969 American epic revisionist Western film directed by Sam Peckinpah and starring William Holden, Ernest Borgnine, Robert Ryan, Edmond O'Brien, Ben Johnson and Warren Oates. The plot concerns an aging outlaw gang on the Mexico–United States border trying to adapt to the changing modern world of 1913. The film was controversial because of its graphic violence and its portrayal of crude men attempting to survive by any available means.
Straw Dogs is a 1971 psychological thriller film directed by Sam Peckinpah and starring Dustin Hoffman and Susan George. The screenplay, by Peckinpah and David Zelag Goodman, is based on Gordon M. Williams's 1969 novel, The Siege of Trencher's Farm. The film's title derives from a discussion in the Tao Te Ching that likens people to the ancient Chinese ceremonial straw dog, being of ceremonial worth, but afterwards discarded with indifference.
The Getaway is a 1972 American action thriller film based on the 1958 novel by Jim Thompson. The film was directed by Sam Peckinpah, written by Walter Hill, and stars Steve McQueen, Ali MacGraw, Ben Johnson, Al Lettieri and Sally Struthers. The plot follows imprisoned mastermind robber Carter "Doc" McCoy, whose wife Carol conspires for his release on the condition they rob a bank in Texas. A double-cross follows the crime, and the McCoys are forced to flee for Mexico with the police and criminals in hot pursuit.
Convoy is a 1978 American road action comedy film directed by Sam Peckinpah and starring Kris Kristofferson, Ali MacGraw, Ernest Borgnine, Burt Young, Madge Sinclair and Franklyn Ajaye. The film is based on the 1975 country and western novelty song "Convoy" by C. W. McCall. The film was made when the CB radio/trucking craze was at its peak in the United States, and followed the similarly themed films White Line Fever (1975) and Smokey and the Bandit (1977). The film received mixed reviews from critics; however, it was the most commercially successful film of Peckinpah's career.
Junior Bonner is a 1972 American contemporary Western film directed by Sam Peckinpah and starring Steve McQueen, Robert Preston, Joe Don Baker and Ida Lupino. The film focuses on a veteran rodeo rider as he returns to his hometown of Prescott, Arizona, to participate in an annual rodeo competition and reunite with his brother and estranged parents. Many critics consider it to be the warmest and most gentle of Peckinpah's films.
Pat Garrett and Billy the Kid is a 1973 American revisionist Western film directed by Sam Peckinpah, written by Rudy Wurlitzer, and starring James Coburn, Kris Kristofferson, Richard Jaeckel, Katy Jurado, Chill Wills, Barry Sullivan, Jason Robards, Slim Pickens and Bob Dylan. The film is about an aging Pat Garrett (Coburn), hired as a lawman by a group of wealthy New Mexico cattle barons to bring down his old friend Billy the Kid (Kristofferson).
Major Dundee is a 1965 American Western film directed by Sam Peckinpah and starring Charlton Heston, Richard Harris, Jim Hutton, and James Coburn. Written by Harry Julian Fink, the film is about a Union cavalry officer who leads a contentious troop of Army regulars, Confederate prisoners, and Indian scouts on an expedition into Mexico during the American Civil War to destroy a band of Apaches who have been raiding United States bases and settlements in the New Mexico territory. Major Dundee was filmed in various locations in Mexico. The movie was filmed in Eastman Color by Pathécolor, print by Technicolor.
The Killer Elite is a 1975 American action thriller film directed by Sam Peckinpah and written by Marc Norman and Stirling Silliphant, adapted from the Robert Syd Hopkins novel Monkey in the Middle. It stars James Caan and Robert Duvall as a pair of elite mercenaries who become bitter rivals and are caught on opposite sides of a proxy war over a foreign dignitary in the streets of San Francisco.
Jinxed! is a 1982 American comedy film starring Bette Midler, Rip Torn and Ken Wahl. The film was the last to be directed by Don Siegel, who suffered a heart attack during production. Siegel hired Sam Peckinpah, who had worked for him in the past, to shoot second-unit work, for which Peckinpah was uncredited.
The Osterman Weekend is a thriller novel by Robert Ludlum. First published in 1972, it was the author's second book. The novel was the basis for the film of the same title.
John Coquillon (1930–1987) was a Dutch cinematographer.
The Deadly Companions is a 1961 American Western and war film directed by Sam Peckinpah and starring Maureen O'Hara, Brian Keith, Steve Cochran, and Chill Wills. Based on the novel of the same name by A. S. Fleischman, the film is about an ex-army soldier who accidentally kills a woman's son, and tries to make up for it by escorting the funeral procession through dangerous Indian territory. The Deadly Companions was Sam Peckinpah's motion picture directorial debut.
Robert Golden Armstrong Jr. was an American character actor and playwright. A veteran performer who appeared in dozens of Westerns during his 40-year career, he may be best remembered for his work with director Sam Peckinpah.
David Weddle is an American television writer and producer known for episodes of Star Trek: Deep Space Nine (1996–1999), The Twilight Zone (2002–2003), Battlestar Galactica (2004–2009), CSI: Crime Scene Investigation (2009-2011), Falling Skies (2011-2013), and The Strain (2014-2017) with writing partner Bradley Thompson. They are currently writing for the series For All Mankind, which debuted on Apple TV+ on November 1, 2019. They also wrote for the short-lived series Ghost Stories (1997) and The Fearing Mind (2000).
William Norton Panzer was an American television and film producer best known as one half of Davis-Panzer Inc, the production company behind the Highlander franchise.
Don Guest was an American film producer, best known for winning the Palme d'Or for a film he produced, Paris, Texas. He also frequently served as a production manager for many prominent directors of the era, including Sam Peckinpah, Peter Bogdanovich, Philip Kaufman, Michelangelo Antonioni. He moved with his family to Los Angeles during the Dust Bowl migration.
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