“IT COULD BE TOMORROW!
Throughout the 1970s, a wave of daring disaster movies gripped cinemagoers with their combination of bravura spectacle and “ripped from the headlines” plotlines. Among these, John Frankenheimer’s (The Manchurian Candidate, Ronin) Black Sunday endures to this day as among the cream of the crop.
Robert Shaw (Jaws, The Taking of Pelham One Two Three) stars as Major Kabakov, an Israeli agent attempting to avert a terrorist atrocity on US soil. The weapon: a blimp laced with explosives and piloted by Michael Lander (Bruce Dern, Silent Running), a troubled Vietnam vet driven to strike back against the nation he believes has betrayed him. The target: the Orange Bowl stadium, Miami. What follows is a nail-biting race against time culminating in a spectacular aerial climax that will determine the fate of 80,000 spectators.
Adapted from the best-selling debut novel by Thomas Harris (The Silence of the Lambs) and featuring virtuoso performances by a cast headlined by Dern, Shaw and Marthe Keller (Marathon Man), Black Sunday is a nerve-shredding, best-in-class suspense thriller from a filmmaker at the top of his game.
SPECIAL EDITION CONTENTS
– High Definition Blu-ray (1080p) presentation
– Original restored lossless mono audio, presented for the first time on Blu-ray
– Optional restored lossless 5.1 and 2.0 stereo audio options
– Optional English subtitles for the deaf and hard of hearing
– Brand new audio commentary by film scholar Josh Nelson
– It Could Be Tomorrow – brand new visual essay by critic Sergio Angelini, exploring the film’s adaptation and production, and its place within the pantheon of 70s terrorism thrillers
– The Directors: John Frankenheimer – an hour-long portrait of the director from 2003, including interviews with Frankenheimer, Kirk Douglas, Samuel L. Jackson, Roy Scheider, Rod Steiger and others
– Image gallery
– Reversible sleeve featuring original and newly commissioned artwork by Peter Strain
GUARANTEED THROUGH PREORDERS FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing on the film by Barry Forshaw”
