Stapleton saw a pickup, driven by Christina Brown, slowed or stopped in the opposite lane of traffic (the northbound lane) and an approaching truck, driven by Henderson. The straightaway ends at another curve to the south.
![thief 1981 criterion thief 1981 criterion](http://movieworld.ws/wp-content/uploads/2015/10/Thief-1981.jpg)
The two-lane highway widened into two south and one north. Coming out of a curve, Stapleton entered a straight section of highway approximately 1,600 feet long. Stapleton crossed a bridge, saw a woman walking and broadcast a warning on his CB radio. The weather was freezing, and the road was icy. He was travelling south from Dubach on Highway 167 near midnight. On January 9, 1988, Stapleton was driving a loaded propane tank truck for Martin Gas Company.
THIEF 1981 CRITERION TRIAL
A divided court of appeal reversed the trial judge's intervention decision but affirmed the jury's verdict. The trial judge, who decided the intervention, assessed Henderson and Stapleton's fault each at fifty percent. The jury did not reach the issue of Stapleton's fault.
THIEF 1981 CRITERION FREE
A divided jury found Henderson and the pickup driver, Brown, free of fault. Stapleton sued for loss of consortium and his employer's insurer intervened to recover worker's compensation benefits. Plaintiff, Johnny Stapleton, was badly injured when the trailer of a truck driven by Max Henderson crossed into Stapleton's lane of travel. Dunn, Jr., Theus, Grisham, Davis & Leigh, Monroe, for respondent.Ī car skidded off an icy road, a pickup truck stopped to render aid, two tractor-trailers arrived at the scene, one eighteen-wheeler jackknifed into the other and this suit ensued. Shadoin, Smith & Shadoin, Ruston, Lisa C. Ciolino, Stone, Pigman, Walther, Wittmann & Hutchinson, New Orleans, Fred W. Street, Monroe, for applicant.Įsmond Phelps, II, Dane S. It is also streaming on HBO Max.*1359 Curtis D. Thief screens on 35mm at the Museum of the Moving Image Sunday, July 11 at 4:00pm and Saturday, July 17 at 6:00pm. And there’s always the rare 35mm screening - such as today’s 4:00pm screening at the Museum of the Moving Image, which repeats July 17 - which, if nothing else, is the best way to experience the wrongfully Razzie-nominated Tangerine Dream score. Ultimately, conversations of ownership tend to be trite reveling in the details, idiosyncrasies, and controversies of the various cuts is one of the pleasures of home video and digital access. With three edits on home video, and one featuring a drastically different color grade, it’s hard to say which viewing method is the best or proper way to view Thief. Most viewers will affirm that Thief never looked “blue,” but on film it is notably cooler than its too-warm DVD and LaserDisc presentations. This is in major contrast with other home video iterations, yet isn’t all that out of place when compared against circulating 35mm prints. Perhaps the most contentious result of Criterion’s otherwise gorgeous restoration was a revamped, director-supervised color grade that resulted in the film being awash in a teal hue. Some of the changes between the three versions are so minute that only obsessives will notice, yet side-by-side it is plainly obvious. This most recent iteration actually has more in common with the theatrical cut in that trims made for the LaserDisc edition have been reinstated, yet it still matches that version’s 124 minute runtime. There is no flashy “Special Director’s Edition” branding, but Criterion demurely notes that it is a “director’s cut” on their packaging. Mann went back to Thief for a Criterion release, this time in the form of a new 4K restoration sourced from the director’s personal 35mm answer print.
![thief 1981 criterion thief 1981 criterion](https://www.dvdtalk.com/reviews/images/reviews/76/full/1390937566_1.jpg)
This version also ended up on the MGM DVD in 1998, the only cut readily in circulation on home video until a third was released in 2014.
![thief 1981 criterion thief 1981 criterion](https://nowtoronto.com/wp-content/uploads/2020/05/thief2.jpg)
Released on LaserDisc in 1995 in what was then dubbed a “Special Director’s Edition,” Mann’s re-working of Thief isn’t a mere extended cut - although it does run 124 minutes compared to the theatrical cut’s 123 - but rather an assemblage of various trims, additions, and perfectionist tinkerings that most viewers would never notice (such as messing with the rate of cuts in the climactic firefight).
![thief 1981 criterion thief 1981 criterion](https://lh6.googleusercontent.com/-rkrd0HNhh3E/Us97JUttMzI/AAAAAAAAQdk/WJUNsmH9q10/s288/Thief.jpg)
Most of his features have two cuts - a theatrical version and Mann’s edit - but in the case of Thief (1981), things are a bit more complicated. The two that have not been tinkered with following their theatrical releases are Collateral (2004) and The Keep (1983), at least not in commercially released versions. Out of his eleven theatrical features, nine have alternate versions supervised and preferred by the director. It’s hard to discuss the work of Michael Mann without addressing questions of authorship and revisionism.