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The Osterman Weekend (1983)

5.9
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The host of an investigative news show is convinced by the CIA that the friends he has invited to a weekend in the country are engaged in a conspiracy that threatens national security in ... See full summary »

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(novel), (adaptation), 1 more credit »
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Title: The Osterman Weekend (1983)

The Osterman Weekend (1983) on IMDb 5.9/10

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Cast

Cast overview, first billed only:
...
...
...
...
...
Joseph Cardone
...
Ali Tanner
...
Virginia Tremayne
Cassie Yates ...
Betty Cardone
Sandy McPeak ...
Walter Stennings
Christopher Starr ...
Steve Tanner
...
Maxwell Danforth
Cheryl Carter ...
Marcia Heller
John Bryson ...
Honeymoon Groom
Anne Haney ...
Honeymoon Bride
Kristen Peckinpah ...
Tremayne's Secretary
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Storyline

The host of an investigative news show is convinced by the CIA that the friends he has invited to a weekend in the country are engaged in a conspiracy that threatens national security in this adaptation of the Robert Ludlum novel. Written by Keith Loh <loh@sfu.ca>

Plot Summary | Plot Synopsis

Taglines:

From Robert Ludlum's Best Selling Novel See more »

Genres:

Action | Drama | Thriller

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

14 October 1983 (USA)  »

Also Known As:

Das Osterman-Weekend  »

Box Office

Gross:

$6,500,000 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (director's cut)

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

A cut made by director Sam Peckinpah which was shown to a test audience is now available on the Anchor Bay DVD release. A number of people walked out of the test screening due to the film's infamous opening sex scene between Fassett (John Hurt) and his wife. The producers wanted Peckinpah to cut the scene out. Once he refuse to made the cuts, he got fired. Deleted scenes in this DVD include: 1) The sex scene is more extended and shot more wobbly to express how Fassett breaking point for revenge had started. 2) Delete scene of Osterman and Joe talking on the phone about their deal. 3) Extended scene of Virginia flirting with Dick on the phone. 4) There a deleted scene of John Tanner of having an affair with his director Marcia, there wakes up to find her dead. 5) The scene where Tanner and guest are arguing by the dinner table, in the theatrical cut Fassett switches on a Swiss ad, the Peckinpah's cut he has like a big image of Danforth. 6) Alterative ending is juxtapositioned between Tanner searching for his family and the TV studio. See more »

Goofs

American CIA agent Fassett states that Tanner will need to sign the Official Secrets Act. There is nothing termed the "Official Secrets Act" in the United States. The OSA is a term used in the UK, Australia, New Zealand, and other Commonwealth states. See more »

Quotes

Fasset's Wife: And you will be showing me how to live.
Lawrence Fassett: How do you know so much?
Fasset's Wife: I don't know so much. But I know you will be leaving me.
See more »

Connections

Featured in Alpha to Omega: Exposing 'The Osterman Weekend' (2004) See more »

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User Reviews

Ahead of its time - brilliant, entertaining, insightful
17 May 2004 | by (Evansville, Indiana) – See all my reviews

When this movie originally came out, five years after CONVOY (a muddled, but in many ways spectacular entertainment), many critics moaned that Peckinpah had yet again displayed his diminished talent. A Ludlum spy thriller, pulp material, given the Peckinpah stamp was not to be taken seriously, period. What nonsense. To begin with, all of Peckinpah's films spring from pulp, and all of them, even the least successful ones, buck and spin with the way Sam applies his vision to the genre conventions he's messing with.

In simple terms, a Peckinpah movie always illustrates the world according to Sam; like a novelist writing in first person, Sam's point of view is the movie's. And that's why they endure today. In THE OSTERMAN WEEKEND, Peckinpah focuses Ludlum's cold war spy antics into a exploration of urban paranoia and governmental abuse. Video as a means to manipulate perception is one of the themes he exploits here, but that's not his main thrust. A group of affluent characters come together for a weekend that turns into a surreal nightmare. The trappings of success that surround this group are not in any way secure enough to withstand the violent, reckless games played on them by a rouge CIA agent (played by John Hurt) who's motive is personal revenge. And that motive, the revenge that fuels his need, in actual fact, has absolutely nothing to do with the affluent group he's playing with. Like the gods in Greek tragedy, the Hurt character uses the Osterman Weekend and its players as pawns, stepping stones, as a way to get at his real goal, the head of the CIA. This notion obviously strikes a chord in Peckinpah; the vision is certainly domestic, but the idea is epic: in the privacy of our homes a kind of virus colors our perceptions and poisons friendships, creates anarchy, and causes death. And the virus - where does it come from? Our own back yard - the CIA.

The film is charged with a constant underlying tension that holds and holds until all hell breaks loose and the affluent house becomes a battle ground. Visually, the movie is stunning. But then, so was CONVOY, but this time Peckinpah has harnessed what he shows and what he wants to say in a simple, tightly wound spy thriller package, Watching the movie today, it's hard to believe that some of the notions that seemed more like the paranoiac mechanics of a potboiler in 1983 have actually come true and don't seem quite as far fetched. By all accounts, Sam Peckinpah was a terribly difficult man, but he was also a visionary film maker who's work gets better and better as the years pass. THE OSTERMAN WEEKEND is not the bad film critics at the time bitched about, and it's not the sad conclusion to a career that started out brimming with possibility. It's a splendid, brilliant - better than brilliant - work of American art by a true American artist: a giant. The world according to Sam is a world that will be looked at a hundred years from now; it will inspire debate, continual analysis, and be ranked with the major artist of the entire 20th century. By 1983,Peckinpah's health may have diminished, but as a film maker he was still powerful and strong as hell.


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