In an age of political discord and violent rhetoric, watching Jules Dassin UPTIGHT, strikes home even more what we are facing and what we have faced. America, then as now, is a place of economic and socio political imbalance, that is offered as unfair but altogether omnipresent. Imprint cleverly have packaged this film without restraint and with the good sense to focus on the circumstances that created it. Christina Newland, who I have been a fan of for sometime, gives a very considered overview of the films environment, which I would suggest anyone (including me) who is new to the film, start with. Context, you see here, is key.

Days after the assassination of Martin Luther King, Tank Williams (Julian Mayfield) has sunk into the bottle and as a unemployed steelworker, the ramshackle gutter is his only refuse. When approached by police informer Clarence (Roscoe Lee Brown), he is swayed to turn over his militant friend, Johnny (Max Julien). Though it pockets him $1,000 as a reward, those in the militant underground have an equal price on his head and an all-points bulletin to exact vengeance is broadcast. First one to kill the squealer pockets the prize.

UPTIGHT is an angry film. Simmering with the ages feelings of political subjugation, social disintegration and radical rebellion. All very justified and all here unrelenting. Dassin delivers with a savageness. Cutting often to the core of his feelings on the subjects. It challenges an expected. Asking us to reflect and react. Dassin had form in challenging the orthodoxy. He was blacklisted and had to go to Europe to make films. I wont go to much into it here, but again Newland covers most of this refreshingly candidly. This chimes well with the films own frankness.

Alain Silver and Jim Ursini do to more credit the film in a historical sense as a recalled and reflective response. They get longer and still do not mince words, just temper them. When I saw the few extras and transfer listed on the sleeve, I was worried. Big film, heavy subject and little flashes by solid people but would it hold the film up? What had me most impressed by Imprints delivered product though, is that it works so coherently. The film looks amazing. Yes, it is a studio film, well kept and cared for but I bet never looked as good as this. All the extras compliment and place the film. Never over shadow nor under estimate it.  Daniel Kremer video essay in particular is a work of bold ambition. I recommend it as the last stop on the tour. Dassin is seen from a later perspective. A renegade but with a reason. Interestingly this is a remake in part of the great Ford film THE INFORMER and it feels as if Dassin models his tone on that. Aesthetically also. The world closing in. Dassin felt this too I suspect.

Special Features and Technical Specs:

• 1080p High-definition presentation on Blu-ray from a 2019 4K scan of the original negative by Paramount Pictures
• NEW Audio Commentary by film historians Alain Silver and Jim Ursini
• NEW Film critic/writer Christina Newland on ‘Uptight’
• NEW Elective Vicissitudes: The Radical Exiles of Jules Dassin – video essay by film historian Daniel Kremer
• Aspect Ratio 1.78:1
• Audio English LPCM 2.0 Mono
• Optional English HOH subtitles
• Limited Edition slipcase on the first 1500 copies with unique artwork