I Died a Thousand Times - Warner Archive Collection

Remakes rarely rival the films they copy, but I Died a Thousand Times comes closer than most to replicating the look and feel of its source movie, the classic crime drama High Sierra. That's because I Died a Thousand Times is practically a shot-for-shot redo of director Raoul Walsh's moving and compelling character study of a doomed ex-con who can't cut his crooked ties. The film also recycles High Sierra's literate script, written by W.R. Burnett, who adapted his own novel. Following the mantra of "if it ain't broke, don't fix it" serves this remake well and makes us wish more remakes would adopt the same mentality.

Reportedly, when actress Shelley Winters was offered the part of Marie Garson, a jaded dance-hall girl who brazenly pursues the tale's noble antihero Roy Earle (Jack Palance), she wondered aloud why anyone would want to remake such an excellent film. Plenty of classics fans share that view, but Hollywood's rationale at the time was if a picture made money once, there's no reason why it shouldn't make money again...and again...and again. I Died a Thousand Times is actually the second remake of High Sierra; the first, Colorado Territory, shifted the story to the Old West, was also directed by Walsh, and was mounted a mere eight years after High Sierra premiered. I Died a Thousand Times came along just six years later, but in this case, familiarity does not breed contempt.

Is High Sierra the better movie? Absolutely! But I Died a Thousand Times duplicates much of the tension, emotion, and fatalism that course through the original and adds CinemaScope and Warnercolor, which expand the canvas, modernize the narrative, and allow viewers to fully drink in the majesty of the Sierra Nevada Mountains, where several key scenes were shot. Director Stuart Heisler, a journeyman whose spotty resumé includes a few gems like Storm Warning and The Glass Key, follows Walsh's blueprint well and dutifully handles the autopilot assignment. A more established director might have brought more artistry to the table, but probably would have been less willing to make a carbon copy of the original.

The story begins with the pardon of career criminal Roy Earle, who seems to want to go straight, but we soon learn strings are attached to his release. Bedridden mob boss Big Mac (Lon Chaney, Jr.) finagled the pardon, and the payback he demands is Roy's participation in one final heist. The target is a fancy lodge in the Sierra Nevadas and - much to his dismay and disgust - the middle-aged Roy is saddled with a couple of young, hotheaded henchmen, Babe (Lee Marvin) and Red (Earl Holliman). Roy worries their inexperience and cocky attitudes will jeopardize the heist, and he's far from thrilled that Babe brought a dame he picked up in a dance hall to their remote hideout.

That dame is Marie, who quickly sees in Roy a maturity, tenderness, and intelligence the other two goons lack. She clings to Roy, but he views her as a nuisance and complication. He's also preoccupied with Velma (Lori Nelson), a disabled young woman who's saddled with a club foot. Roy is determined to help Velma get the medical treatment her poor family can't afford and harbors dreams of a quiet life with her once the robbery is over and he gets his take. Sadly, Roy has never been the master of his own fate, and as the day of the heist draws near, outside forces and bad luck conspire to bring him down.

I Died a Thousand Times is basically High Sierra lite. It moves at a brisk clip and administers equal doses of tension and action, but doesn't deliver the climactic gut punch as forcefully as the original, which so beautifully blends a cynical edge and powerful emotions with an aura of melancholy, regret, and foreboding. Of course, Walsh is a more talented director than Heisler, and you can't minimize the immense contributions of Humphrey Bogart, who gave one of his finest performances as Roy Earle.

Bogart's Roy is a tough act to follow, but Palance, whose chiseled face and intense gaze give the impression he's a hair's breadth away from busting a gasket and rearranging someone's face, doesn't seem daunted by the challenge. Though he lacks Bogart's sad eyes and world-weariness, Palance projects a sense of quiet resignation and self-loathing that engenders sympathy. You can feel the turmoil churning inside him, and while he struggles to express tenderness, the seeds are visible. Strong men like Palance make great tragic heroes because they fall so hard, and though there's no way he can eclipse Bogart in one of Bogart's signature roles, he crafts his own nuanced portrayal and puts his personal stamp on the character.

Winters must follow in the footsteps of the wonderful Ida Lupino, but because Winters is a dozen years older than Lupino when she played Marie, she brings more of a hard-knocks, been-around attitude to the part. Just as Roy seems like he's on his last go-round, Winters' Marie seems equally desperate to leave behind her sordid past and sees Roy as her salvation. Unlike the more refined Lupino, Winters files a raw, rough-around-the-edges portrayal that oozes heartache and recalls her bravura, Oscar-nominated turn as the insecure, needy Alice in A Place in the Sun a few years before.

In other roles, Marvin and Holliman shine as the bumbling cohorts who panic under pressure, Chaney makes a credible mob boss, and Nelson aptly portrays the ultimately selfish, ungrateful Velma for whom Roy holds a misguided torch (although I much prefer Joan Leslie's performance in the original). Eagle eyes will spot a scowling Richard Davalos, who would make a minor splash as James Dean's naive brother in East of Eden the very same year, and a young Dennis Hopper in just his second motion picture.

If given the choice, nine times out of 10 I'd watch High Sierra over I Died a Thousand Times, but Heisler's film stands on its own and earns its share of play time. I'm sure I'll revisit it again, probably as a double-feature with High Sierra, so I can more fully compare the two. I Died a Thousand Times reverently honors the film that inspired it, and if more remakes did just that, maybe they wouldn't get such a bad rap.

Vital Disc Stats: The Blu-ray
I Died a Thousand Times arrives on Blu-ray packaged in a standard case. Video codec is 1080p/AVC MPEG-4 and audio is DTS-HD Master Audio 2.0 stereo. Once the disc is inserted into the player, the static menu without music immediately pops up; no previews or promos precede it.

A brand new HD master struck from a 4K scan of the original camera negative yields an often striking 1080p/AVC MPEG-4 transfer of this CinemaScope movie. Evident grain maintains the film-like feel, and the extra-wide 2.55:1 aspect ratio provides some stunning vistas of the Sierra Nevadas. Three-time Oscar-nominated cinematographer Ted McCord nicely juxtaposes the expansive outdoor scenery with claustrophobic indoor shots that heighten intimacy and tension while delineating the polar forces that eat away at Roy's soul. Clarity and contrast are quite good, although some soft and slightly blurry moments - most likely the result of the anamorphic lenses used in early widescreen films - creep in occasionally.

Vivid colors, especially reds and blues, light up the screen, blacks are rich, the white, snow-capped mountain peaks are well defined, and flesh tones appear natural and remain stable throughout. Shadow delineation is fine, although the day-for-night shots look a tad bright, and sharp close-ups highlight pores, stubble, tears, and glistening sweat. No digital anomalies could be detected, and no nicks, scratches, or dirt sully the pristine print. I don't own the 2009 DVD, but this top-notch presentation surely must be a worthy upgrade for fans.

It's always a treat when a stereo soundtrack is included on a classics disc, and this DTS-HD Master Audio 2.0 track provides a marvelous aural experience. Palpable stereo separation across the front channels nicely complements the widescreen visuals, but hearing David Buttolph's score bleed into the rears and completely fill the room really excites the senses. A wide dynamic scale handles all of the music's highs and lows with ease and all the dialogue is well prioritized and easy to comprehend. Sonic accents like gunshots, sirens, explosions, screeching wheels, and revving engines are crisp, and no age-related hiss, pops, or crackle intrude. The crystal clear audio helps immerse us in the action and heightens the impact of this stirring yarn.

A couple of Bugs Bunny cartoons and a trailer are the only extras on the disc.

• Vintage Cartoon: Sahara Hare (HD, 7 minutes) - Bugs accidentally pops up in the Sahara Desert and must square off against Yosemite Sam dressed as an Arab in this classic animated short.
• Vintage Cartoon: Hare Brush (HD, 7 minutes) - I remember so well watching this cartoon on TV as a kid, and it's just as hilarious today as it was when I was 10 years old. When Elmer Fudd is deemed insane because he thinks he's a rabbit, he entices Bugs into his asylum room. While there, Bugs gets hypnotized by a psychiatrist and believes he is Elmer. What follows is a madcap, Freaky Friday-like series of episodes as Bugs/Elmer tries to hunt down that "wascally wabbit" Elmer. A twist ending gives Elmer the last laugh in this memorable romp.
• Theatrical Trailer (HD, 3 minutes) - The film's original preview hypes the movie as "the autobiography of a man who lived a thousand crimes!"

I Died a Thousand Times isn't a great film, but it's a very good remake, and that makes it noteworthy. Palance and Winters inherit the roles originated by Bogart and Lupino and both fill their sizable shoes well. The film respectfully honors its roots and the addition of CinemaScope and Warnercolor add a bit of flash and grandeur to this intimate, fatalistic tale. Warner Archive's new 4K scan of the original camera negative and robust stereo soundtrack further enhance the viewing experience. Highly Recommended.