Targets Blu-ray Movie

Rating summary

Movie		4.0
Video		3.5
Audio		5.0
Extras		3.5
Overall		3.0

Targets Blu-ray Movie Review

Reviewed by Dr. Svet Atanasov May 27, 2023

Peter Bogdanovich's "Targets" (1968) arrives on Blu-ray courtesy of Criterion. The supplemental features on the release include archival introduction by the director; exclusive new program with Richard Linklater; excerpts from an archival interview with Polly Platt; and vintage trailer for the film. In English, with optional English SDH subtitles for the main feature. Region-A "locked".

Any credible discussion of Targets (1968) must disclose the fact that it is not the original film Peter Bogdanovich planned to direct. There are several reasons why and in an archival program that is included on this release Bogdanovich mentions all of them. I am going to mention the two that were the most consequential ones.

Bogdanovich confirms that Targets happened because Roger Corman wanted to recoup a rather substantial investment and offered him a deal. The deal was that Bogdanovich uses Boris Karloff in Targets and random footage from another film Corman had already made with the iconic actor called The Terror (1963). As a first-time director, Bogdanovich enthusiastically seized the opportunity, but soon after hit a wall because he could not figure out how to make a coherent film while following Corman’s instructions. It is when Bogdanovich reached out to Sam Fuller and asked him to look at the screenplay he had been working on. According to Bogdanovich, Fuller then redid the entire screenplay, ensuring that it can produce a terrific film -- not just a coherent film, but a terrific film. When the grateful Bogdanovich offered to credit him for his invaluable work, Fuller refused. Sometime after that, to honor Fuller, Bogdanovich decided to rename the character he played in Targets Sammy Michaels. (Samuel Michael Fuller was the great director’s full name).

The above information does not diminish the quality of the work Bogdanovich did during the production of Targets. If anything, it makes Bogdanovich’s work as a first-time director appear more impressive because he had to meet the expectations of Corman and Fuller. (It is beyond naïve to think that after rewriting the screenplay Fuller did not have some expectations, plus Corman clearly wanted a proper film that can help him get his money back, so Bogdanovich obviously had to deliver -- and he did). However, after Fuller’s involvement, Bogdanovich reset his vision of Targets as well, so the material he went on to shoot was undoubtedly very different. (In the archival program that is mentioned earlier, Bogdanovich actually highlights some of the ways in which this material evolved).

The current version of Targets is essentially a witty character study of two very different monsters. The first is Bobby Thompson (Tim O’Kelly), a young man that falls into the abyss of madness and becomes a deranged mass murderer. The second is Byron Orlok (Karloff), an aging actor who has made a career of playing very scary characters. During a day of horrendous killings, fate brings the two characters together and they become aware of their existence.

Thompson’s character is a loose replica of Charles Whitman, a real mass murderer that climbed an observation tower at the University of Texas in Austin and unleashed hell with his long-range rifle. Orlok’s character is an even looser replica of Karloff. Before they meet, Targets spends an equal amount of time following both, revealing how they perceive their reality and misjudge it in several different ways.

Even though Bogdanovich worked with a small budget and quickly, Targets does not look like a film that would have emerged with Corman’s blessing. It has the appearance and fearless attitude of a classic Americana, which is undoubtedly why it impressed a couple of the producers of Easy Rider (1969) and they reached out to Bogdanovich with an offer to do The Last Picture Show (1971). Its highway footage, in particular, is unbearably realistic and perhaps even controversial because at times it almost looks like it came from a documentary feature but was carefully edited for optimal effect.

What makes it impossible to profile Targets as a classic Americana is the love and respect it shows to Karloff. Targets was the iconic actor’s final major film and there is not a shortage of material in it where it becomes painfully obvious that Bogdanovich does plenty to make his departure appear as striking as it could be.

Targets Blu-ray Movie, Video Quality 

Presented in its original aspect ratio of 1.85:1, encoded with MPEG-4 AVC and granted a 1080p transfer, Targets arrives on Blu-ray courtesy of Criterion.

The following text appears inside the booklet that is provided with this Blu-ray release:

"This new 4K digital master was created from the 35mm original camera negative, which was scanned in 4K 16-bit on a Lasergraphics Director film scanner. The original monaural soundtrack was remastered from the 35mm magnetic track.

Transfer supervisors: Peter Bogdanovich, Lee Kline.
Colorist: Gregg Garvin/Roundabout Entertainment, Burbank, CA."

The new 4K makeover of Targets is disappointing. The entire film looks very healthy and its visuals boast the type of solid density levels that only a very high-quality modern 4K master can produce. In terms of delineation, clarity, and depth there are substantial improvements that make large areas of the film look as if they were completed a few months ago. Unfortunately, the 4K makeover promotes that kind of contemporary appearance as well. I found this very frustrating because the identity of the film is different now. In some areas, the new grade eliminates entire ranges of blues and essentially introduced a new color temperature. (The same practice can be observed on Paramount's recent 4K makeover of Secret of the Incas). Elsewhere, the same or similar ranges of blues are replaced by variations of turquoise. (The same alterations can be observed on Paramount's recent 4K makeover of Marathon Man). Other colors, like red and gray, are affected as well. Needless to say, after the adjustments it is either very difficult or quite simply impossible to recognize many of the film's unique late 1960s qualities. (While the color blue is mismanaged differently on it, Paramount's recent 4K makeover of The Italian Job accomplishes the same). All of this is very unfortunate because it is exceptionally easy to tell that the raw 4K files are outstanding and could have produced a magnificent and undoubtedly definitive presentation of the film. There are no encoding anomalies to report. My score is 3.25/5.00. (Note: This is a Reigon-A "locked" Blu-ray release. Therefore, you will be able to play it on your player regardless of your geographical location).

Targets Blu-ray Movie, Audio Quality 

There is only one standard audio track on this Blu-ray release: English LPCM 1.0. Optional English SDH subtitles are provided for the main feature. When turned on, they appear inside the image frame.

The audio is clear and easy to follow. However, in some areas there are pretty obvious dynamic fluctuations. In an archival program, Peter Bogdanovich explains that a lot of crucial footage was shot without sound and later carefully modified. I assume that virtually all of the fluctuations you may notice while viewing the film exist because of these modifications. There are no audio dropouts, background hiss, or distortions to report.

Targets Blu-ray Movie, Special Features and Extras 

• Introduction by Peter Bogdanovich - in this archival program, Peter Bogdanovich recalls how he was offered to do Targets and discusses its conception and production. There are some particularly interesting comments about Bogdanovich's interactions with Roger Corman, Sam Fuller, and Boris Karloff. The program was produced in 2002. In Engish, not subtitled. (14 min).

• Interview with Richard Linklater - in this exclusive new program, Richard Linklater (Dazed and Confused) discusses Peter Bogdanovich's legacy and style, the unique cinematic qualities of Targets, and some of the themes in that have a contemporary resonance. The program was produced in 2023. In Engish, not subtitled. (27 min).

• Excerpts From Polly Platt at the AFI - in these audio excerpts, Polly Platt, who was once married to Peter Bogdanovich and worked on with him on Targets, recalls her initial interactions with Roger Corman and discusses the production of the film. The excerpts are from an interview that was conducted at the AFI in 1983. In Engish, not subtitled. (31 min).

• Trailer - presented here is a vintage trailer for Targets. In Engish, not subtitled. (2 min).

• Booklet - a 34-page illustrated booklet featuring Adam Nayman's essay "American Sniper", an archival interview with Peter Bogdanovich, and technical credits.

Targets Blu-ray Movie, Overall Score and Recommendation 

It may not be right to suggest that Edward Dmytryk's The Sniper (1952) and Irving Lerner's City of Fear (1959) could have revealed the blueprint for Peter Bogdanovich's directorial debut, Targets, but it is an indisputable fact that all three share the same cinematic genes. They are chilling modern horror films that, sadly, turned out to be prophetic as well. However, Targets was also conceived to honor one of the all-time greatest character actors, Boris Karloff, and this is what makes it unique. Criterion's Blu-ray release introduces a brand new 4K restoration of Targets, but I found the makeover unconvincing because it alters the native appearance of the film.