Omega, el último encuentro

Action movie in Peckinpah style with tension , intrigue , thrills , gushing blood and violence . The one weekend of the year you won't want to miss. The host of an investigative news spectacle (Rutger Hauer,first major character in a Hollywood movie played by Dutch actor) is assigned a dangerous mission As TV show hosted by television journalist John Tanner is called "Face to Face" and he is convinced by a CIA operative (John Hurt was second billed) that the friends (Chris Sarandon , Dennis Hooper , Craig T Nelson) and wives (Helen Shaver ,Cassie Yates) he has invited to a weekend party are Russian spies from a secret organization . The name of the Soviet spy network was "Omega".

This actioner and suspenseful movie tells a convoluted and complicated tale of vendetta , espionage and treason . Interesting but slightly boring spy film , including an overly complex and confusing script , even though at times it is admittedly engrossing . The picture was made and released about eleven years after its source novel of the same name by Robert Ludlum had been first published in 1972 . Sam Peckinpah was fired as director during post-production. Others were Convoy and Ride the High County . When he refused to re-edit Osterman weekend after it was screened for a test audience and met with a confused and extremely mixed reaction. Producers took over the editing with the assistance of the editor , drastically altering opening and ending sequences. Mediocre and dark cinematography by John Coquillon , in fact , the picture involved a considerable amount of filming at night. It was filmed at a 1950s ranch located in upper Mandeville Canyon in the Hollywood Hills , it was a property once owned by Robert Taylor and has been frequently been known by the names the "Taylor Estate" . Anti-climatic soundtrack by Lalo Schifrin composed by means by synthesizer . Director Don Siegel, long time friend and mentor to Sam Peckinpah, recommended Lalo Schifrin as the film's composer. Schifrin had scored five of Siegel's movies ; composer Lalo Schifrin had to sit by Sam Peckinpah's sick bed in order to spot the film and decide which scenes did or did not need music.

Final film of director Sam Peckinpah. The picture was also Peckinpah's big "comeback movie", it was his first in five years, his last film having been at the time Convoy back in 1978 . The movie is also Peckinpah's only feature film of the 1980s decade . The production shoot for this film ran for fifty-four days . Director Sam Peckinpah was in ill-health throughout the shoot as the long-term toll of his drug and alcohol abuse suggested to many in the production that he was dying. Peckinpah after beginning as a writer , was soon involved in TV Westerns at the peak of his popularity ; shooting series just like ¨¨The Westener¨, ¨Gunsmoke¨and most popular ¨Rifleman¨, moving into films by 1961 when he made nice impression with ¨The deadly companions¨, ¨Ride the High Country¨ , Major Dundee¨ and his best picture ,Wild Bunch¨ . After that , he concentrated on nail-biting and tougher-than-tough action films just like ¨The getaway¨, ¨Convoy¨, ¨the ¨killer elite¨ and this last movie ¨Osterman weekend¨ . The final title as violent and nice as anyone the Western or wartime genre has given us .

Sam Peckinpah is one of my favorite directors. I'll always see him as a visionary maverick responsible for crafting some of the most enjoyable movies I've ever seen. His The Wild Bunch and Bring Me the Head of Alfredo Garcia are among my favorite films. His last film, The Osterman Weekend, is something of a mixed bag. On the positive side, it has several good action set pieces that are very reminiscent of the other films I've mentioned. Scenes of bullets and arrows flying through the air and a particularly brutal fight scene with a bat filmed in slow-motion remind me of Peckinpah's glory days. Unfortunately, there's a plot in there that gets in the way of the fun. I've seen The Osterman Weekend twice now and I'm as confused about some of the events in the movie as I was the first time I saw it. I don't know if it was just Peckinpah being stubborn, but it feels unnecessarily confusing. There are plot points that go nowhere, plot holes big enough to drive the proverbial truck through, and plot twists that don't work. After a good set-up, the movie simply loses its way. A script that didn't try so hard to be clever and secretive and some judicious editing might have made The Osterman Weekend a winner.

It's Sam Peckinpah's last film, and as a fan of this brilliant, troubled man, I wanted it to be a good one to go out on. What I got instead is another of his problem pictures, an interesting premise and eye-raising performances done in by a loss of focus.

John Tanner (Rutger Hauer) is a TV interviewer given an unpleasant assignment by CIA operative Lawrence Fassett (John Hurt): Confront a group of college friends with evidence they are working for a KGB operative named Mikalovich. An array of videotapes provided by Fassett demonstrates their culpability to Tanner. So he sets to work, his home the setting for a prearranged weekend gathering. If it works, a live interview with CIA Director Maxwell Danforth (Burt Lancaster) will be his reward.

For Peckinpah, it was his first film in more than half-a-decade, and a chance to show he was still able to deliver a solid action film well after his gritty early-'70s peak. The CIA comes equipped with cool surveillance equipment and laser-sighted automatics. The Weekend itself, once it gets going, has a nice "Big Chill" vibe with paranoid undertones.

So what goes wrong?

It starts with a 40-minute intro that establishes the premise in clunky fashion. "I'm Cloak, you must be Dagger" Tanner says upon meeting Danforth, whom Lancaster plays with brio but not subtlety. "Being wrong is not nearly as important as not admitting it, not these days," he tells one Company weasel, and acts throughout as the kind of clod you wouldn't put in charge of a shoe store, let alone the CIA.

Then we get to the Weekend itself, with Tanner's college friends taking center stage. Each has their quirks. Osterman (Craig T. Nelson) is a very cool TV producer who describes himself as "a nihilistic anarchist who lives on residuals". Nelson is great fun, though the rest of the group, including Dennis Hopper, gets lost in the mix. Only Helen Shaver's turn as a coked-out floozy stands out, as much for her gratuitous nude scenes as for her entertaining freak outs.

Sappy lite-jazz music by Lalo Schifrin underscores a lack of suspense. Hauer's Dutch accent keeps creeping in like Nastassja Kinski's, and his fragile relationship with his bow-toting wife (Meg Foster) isn't developed any more than those with his once-merry, now-sullen Berkeley chums.

The actual jigsaw puzzle we get here is indifferently assembled and seems at end a few pieces short. At one point Tanner hears Osterman on tape tell his friends "Let's go to our friend John Tanner's house and set him up". Tanner doesn't take this kindly, reasonably enough, yet what Osterman may have meant is never explained. A lot of threads are pulled out this way only to be left floating in the breeze.

John Coquillon's cinematography does capture something the rest of the film flails at, a sense of mystery and foreboding. Hurt's tortured performance as Fassett is nicely underplayed, watching beady-eyed between sips of wine from a china cup as the gears shift into play. And Nelson does crack me up, as in one scene which finds him running for cover.

"It'd be nice if we had weapons!"

"We do!" he is told. "Bows!"

"Bows?" Osterman replies. "That's keen!"

In the end, we get a wrap-up lecture about the pervading influence of television and how this all was, as one character puts it, "just another episode in this snuff soap opera we're all in." Peckinpah supposedly hated this script, only using it because he needed the film, but I think those sad words represent his actual mindset all-too-well. Distrait, somewhat lethargic, and depressing, "The Osterman Weekend" gives us lots of clues but no answers as to where Sam fell off.

"The Osterman Weekend" emits the feeling of a last gasp. What was an author's second novel later took this form of a director's last film. Sam Peckinpah was a good choice for directing, with film's like "The Wild Bunch" and "Pat Garrett and Billy the Kid" under his belt, Peckinpah wouldn't hesitate to show the grim world of betrayal and manipulation that Robert Ludlum showed through virtually everyone of his books. With spy films like the James Bond franchise being the most popular, this was the lesser seem side of that coin - the side that is less escapist adventure storytelling for boys.

However, the problems that Sam Peckinpah was going through at his last stages have noticeably affected the film. The intricate plot is there, but feels stitched together in parts, though that may very well be due the studio demanding re-editing work. The action is at times sloppy with very little of the mesmerizing details of Peckinpah's previous action sequences; a car crash even contains multiple repeats of the same angle and makes some disastrous continuity. The other action scenes are a notch or two better, but still far from what they could have been.

But, at least the plot and its many deceptions keep you guessing, right to the last shot. --- 6/10

BsCDb Classification: 13+ --- violence, sexual content

The Robert Ludlum book of the same name is excellent, very tense and very well written. I waited ages for this film to come along at the right price (25p off ebay, ha ha), but how disappointed I was when I finally saw it. Maybe it wouldn't be a bad film if it wasn't based on a book, but it is, and a great book at that. Therefore, I have to compare the film with the original as the two can't be separated. Relative to the book, the film is, frankly, rubbish I'm sorry to say. I had such high expectations, but the film bore such little resemblance to the book that had I not known it was called "The Osterman Weekend", I would never have guessed that it was based on the book of the same name.

I gave this film 5/10 simply because I made it through to the end (and Rutger Hauer and John Hurt have done some great stuff), but it was more out of morbid curiosity as to how much more they could butcher the book than for any entertainment value. This was a film that was a product of its time (replete with cheesy music and bad acting) and it hasn't aged well. I'm glad I bought it for 25p because any more and I would've considered it a waste of money.

If it comes up on TV and you have 90 minutes burning a hole in your life, watch it - it isn't dreadful, but it's certainly not great. If you've read the book and are hoping to see it brought to life, or think that you're about to watch another Sam Peckinpah classic, give it a miss, it really isn't worth it.