Color of Night (Kino Lorber Blu-ray Review)

Is Color of Night a Hidden Treasure or Dumpster Fire?

Blu-ray Distributed By: Kino Lorber / August 21, 2018

This special edition includes both the theatrical cut and the director’s cut. Cult filmmaker Richard Rush (The Stunt Man, Freebie and the Bean, Psych-Out) directed this sexy murder-mystery starring screen legend Bruce Willis (Die Hard). Color of Night is the thrill-packed story of a psychologist haunted by the brutal murder of a friend and colleague. While hunting for the killer, he finds himself romantically entangled with a mysterious beauty (Jane March, The Lover) who leads him through a web of passion and intrigue. Lance Henriksen (Aliens), Lesley Ann Warren (The Limey), Rubén Blades (Disorganized Crime), Scott Bakula (TV’s Quantum Leap), Brad Dourif (Wise Blood), Kevin J. O’Connor (Deep Rising), Eriq La Salle (Coming to America), Jeff Corey (Jennifer) and Shirley Knight (The Rain People) co-star in this steamy and erotic thriller.

Jimbo’s Take (3 / 5)

When Color of Night was originally released in 1994, I don’t recall anyone talking about how good the movie was. All the tabloid buzz was laser focused on only one thing: Bruce’s Willis’ ding-dong.

It’s true, Color of Night is probably most famous for letting people get a glimpse of an A-list penis. However, once you see lil’ Willis for yourself, you’ll probably wonder what all the hubbub has been about. At the time, I’m sure producer Andrew Vajna was happy to let any buzz circulate to draw some kind of crowd for an otherwise mediocre noir-inspired, detective, murder mystery.

Upon its release critics savaged the film. Originally released in a two-hour cut, we now know that this version was Vajna’s re-edit of Director Richard Rush’s 140-minute version. And if you take Rush’s audio commentary at face value (featured on the Director’s Cut blu-ray), Vajna sounds like a grade-A asshole.

Rush claims that their strained relationship began when Vajna forcibly took away Rush’s Air America project. Air America was originally set to star Sean Connery and Kevin Costner. But Vajna stripped the project away from Rush, hiring a new director, re-writing the script, and recasting the film with Robert Downey Jr. and Mel Gibson.

A few years later Vajna offered Rush the directing job on Color of Night. Bruce Willis was already attached and the script written. Rush took the job and describes a post-production process where Vajna flexed his producer control again. Vajna wanted the two-hour cut. Rush says he was well within contractual obligation in his 140-minute version. The men agreed to make their own version and view it to a test audience. The version that scored the highest rating would be final cut.

Rush’s version won. Vajna fired him immediately after and moved forward with his version for domestic and international release. But the director’s guild fought on Rush’s behalf and after some threats by Rush to remove his name from the project, Vajna finally agreed to let Rush have his version released as part of the home video distribution.

However, screenwriter Matthew Chapman (featured on the theatrical cut) describes a slightly different account of events. Chapman recalls a production schedule that was slow and costly. And if you take the time to watch both versions you may see this point of view validated. When you compare and contrast all of the alternate footage that was available between each cut of the film, it becomes clear that a lot of extra coverage was shot that’s arguably costly and unnecessary. So maybe Vajna was justified in taking back some creative control.

Whether, any of this is true or not, we are left with Kino Lorber’s blu-ray release that includes both versions of the film. So you can decide for yourself!

Director’s Cut Vs. Theatrical Cut?

Both versions have a very well structured mystery leaving the audience mostly guessing and intrigued until the movie’s disappointing and ridiculous conclusion.

Of the two versions, I believe Rush’s cut is the better and more masterful, but I don’t think Vajna’s cut is without merit. With most movies, everything boils down to personal taste. Vajna’s version feels more mechanical and methodical; something you might expect from a producer.

Rush’s cut has more finesse and the alternate shots he assembles have more artistically pleasing compositions. However, Rush’s version is arguably unnecessarily too long in certain sections and some subplots may feel extraneous and overstated. I’ll give you an example.

In Rush’s cut there’s a high speed chase between the killer’s red Corvette and Bruce Willis’ Mercedes. The sequence makes for some great action and smashing of steel as the two vehicles veer in and out of heavy traffic. But Willis isn’t playing John McClain in Die Hard. He’s playing your average man. So you may wonder why he doesn’t just stop the car and run over to the Corvette to reveal the killer. Instead they drive dangerously through LA, smashing everything in their path, and the cops never show up.

But I still prefer Rush’s cut because it gives us more time with the supporting cast: Scott Bakula, Leslie Ann Warren, Brad Dourif, Lance Henriksen, all of whom are extremely good in their roles and aid in keeping the audience off the track of the killer’s identity.

Henriksen is especially good as Buck, a grieving man whose past traumas are driving his rage. Buck’s past eventually ties back to Detective Martinez (Reuben Blades) who is in charge of investigating the plot’s main murder. These additional character beats are absent from the Vajna cut, and without them the character of Detective Martinez seems unnecessarily forceful and laughably over the top. But Rush’s cut gives Reuben’s performance a bit more justification.

And both cuts offer plenty of steamy sex, gratuitous nudity, and Bruce’s penis. So if your interests are geared more toward the erotic and titillating, each version can satisfy this need.

Hidden Treasure/Dumpster Fire?

Color of Night is a “love it” or “leave it” title. Those that love it will defend it to the grave. Everyone else will hate it or consider it mostly forgettable. I fall in the latter category. I think there’s a lot that’s good about the movie, but ultimately Bruce Willis’ penis remains the most relevant talking point.

Jimbo says: One’s Trash is Another’s Treasure