The Osterman Weekend

“The truth is just a lie that hasn’t been found out." Peckinpah’s last picture is kind of weird. Apart from his “trademark" slow-motion sequences, nothing else here contains his signature. The fact that he chose to adapt this political espionage novel by Robert Ludlum is fairly surprising. However B-movie standard it might be today, at the time of its release the cast was still quality. Although none of them gives a star performance. And, as usual, he is in a role that just makes up the numbers. Up until the scene in front of the refrigerator, this is basically a good, regular movie, but no miracle. But then it becomes sort of... Sort of weird. And the guaranteed to irritate, incredibly badly used typical eighties music wrecks the overall impression. The overall impression I get is rather puzzling. A sort of B-movie that isn’t a B-movie at all. The Osterman Weekend is neither good, bad or even average. Nothing that you would remember or go back to watch again, while still it leaves some impression on you. It’s simply weird. (2008-01-04)

What most attracted me to The Osterman Weekend was the extremely cool American poster and I had no idea what to expect. Also, I understand why Sam Peckinpah's last movie is seen to be so inconsistent. I knew a little about the confusion concerning the chaotic production which accompanied the shooting, but I still liked it. The screenplay and development of the storyline work well, the soundtrack by Lalo Schifrin is enjoyable, and it has a very interesting cast - John Hurt surpasses himself, Craig T. Nelson puts in a surprising performance and the otherwise eccentric Dennis Hopper is unusually in the role of a very timid man here. In addition, as soon as Peckinpah's typical slow-motion action started, I could not take my eyes off it, and it clearly reminded me of Michael Mann's style. Of course, The Osterman Weekend could have been an even better movie (we can only imagine what it would have been like if the director had not been fired before the final edit), but in my opinion, this movie is an interesting thriller that deserves more attention. For this final work of a great director, there is no disgrace. (2018-09-12)

Sam Peckinpah's farewell to (not only) the film world was quite successful. Despite the fact that the subject matter of The Osterman Weekend really seems like a revelation in relation to his previous work, the result is in many ways a typical Peckinpah film. I liked the plot, the unpredictable atmosphere of the "pulling of the strings" was properly thick, Rutger Hauer was top-notch, as was John Hurt and others... Yet the highlight - actually several highlights - of the film are the (story and non-story, twists and non-twists, paranoia and non-paranoia) action scenes. The director didn't let himself be shamed by creating a top-notch car chase and a duel with a baseball bat that made sure that I didn’t blink even once. What about the end of the film? It was more than good. I think that Sam Peckinpah has very skilfully translated for us what Robert Ludlum wanted to say. And not just on the level of a deathly ill, drink and drug-addled man. (2013-12-10)