Warner Bros. | 1976 | 119 mins. | Rated PG
Based on the novel of the same name by William F. Nolan and George Clayton Johnson, director Michael Anderson’s (Orca), Logan’s Run, is one of those films that has gained cult classic status among some film fans; there’s was a time upon the film’s release in 1976, that sci-fi conventions urged guests to participate in “Runs,” reenacting the film’s central set-piece. Others, regarded the whole premise as pure nonsense, and dismissed the movie quickly. Even those who embraced Logan’s Run upon its release, were quickly swept up in the Star Wars phenomenon of 1977, and the idea of reenacting “runs” became passé. However, in the intervening years, Logan’s Run has gained a devoted following, with a remake slated for release in 2012.
It is the year 2274. Those who have survived the years of war, pollution, and overpopulation have retreated into giant dome-cities, where they live forced though readily-accepted utopian lives. However, there’s a catch: on the occasion of their 30th birthday, all citizens will be terminated (though the society leads its citizens to believe that the process enables them to somehow be ‘reborn.’) in an event known as “Carrousel.” Those who refused to participate in the ceremony—known as “runners”—are tracked down by a “Sandmen” who dress in black and carry deadly weapons.
The man character here is a Sandman named Logan (Michael York), becomes suspicious of the promised renewal process after e kills a runner wearing an “Ankh,” and later sees the same symbol on a young woman named Jessica (Jenny Agutter). Logan’s inquiry of a central computer reveals the Ankh to be a symbol of an underground movement that leads runners to the safety of “Sanctuary.” Logan is given the job of finding “Sanctuary,” and destroying it. Logan gains Jessica’s trust, and soon gets her help in his task to infiltrate the runners. However, Logan finds himself sympathetic to the runners plight when his lifeclock—a small crystal implanted in everyone’s hand that counts down the time until Carrousel and then blinks—skips ahead four years for the purpose of the mission. With time running out, and his best friend and fellow Sandman Francis (Richard Jordan) in hot pursuit, can Logan discover what lies beyond the walls of the dome? Is there life out there and can he put a stop to the ritual of Carrousel?
I suspect Logan’s Run enjoys cult classic status because of the scripts central theme—total control vs. personal liberty. Much like the society George Orwell envisioned in 1984, the lives Logan and his compatriots live are determined by some central body, and enforced by tyranny. Naturally, as a free people, that scenario is something we all fear. Beyond that, Logan’s Run succeeds because of strong performances by all of the principle actors, as well as its ability to juxtapose the cleanliness, sterility, order, and security of the dome with the grim reality of Carrousel. The hedonist lifestyle has won over the majority of the population, and Carrousel brings about a carnival like atmosphere every day inside the dome.
While a few may find Logan’s Run to border on pure nonsense, here in the 21st century, more are likely to leave the film with a peaked curiosity to learn the political, social and economic infrastructure behind Logan’s world.
Logan’s Run comes to Blu-ray with a decent 1080p, 2.40:1-framed transfer. The fine detail tends to become more visible as the movie moves along to areas that actually have more textured objects to showcase. Close-ups of clothing—particularly the Sandmen’s black and gray sweaters—reveal stitches and lines pretty well. The 1080p transfer makes it particularly easy to spot the many wires holding up Carrousel’s latest victims. Colors—particularly those shades that represent the citizens’ age, are bold and nicely rendered, and as the film moves into its second and third acts, additional shades make for a welcome reprieve from the blandness of the dome. Black levels waver some, ranging from a slightly a bit too bright shade to deep and dark shades. Flesh tones are nicely rendered, and the transfer retains a layer of film grain that spikes over some of the more effects-heavy shots. A few vertical lines appear in places over the image, but they don’t distract from the film.
Logan’s Run is outfitted with a somewhat uneven Dolby TrueHD 5.1 lossless soundtrack. To its credit, the surround channels are used well in several instances. Several sound effects play far too loudly at reference volume, and Logan’s Run will likely have listeners turning down the volume during much of the film. The first Carrousel sequence features thunderous applause from the crowd, but the effect sounds muffled at best and a jumble of not-at-all-pleasurable sounds at worst. Dialogue delivery is never unintelligible, but the track often places it at the far reaches of the front half of the soundstage, and while it’s meant to replicate the location of the actors on-screen, it makes for more a distracting nuisance that seems detached from the picture. As the film goes on, a few effects tighten up and deliver a bit more of a natural and focused presentation, even accompanied by a fair level of bass, but more often than not the soundtrack plays as far too eager to spread things out so that it comes across as more unnatural than it should. Logan’s Run’s lossless soundtrack isn’t terrible, but it’s far from reference quality.
Logan’s Run doesn’t offer too much in the way of special features:
• Audio Commentary: Director Michael Anderson, Actor Michael York, and Costume Designer Bill Thomas each recall plenty of interesting facts, from the design and special effects of Carrousel, to shooting different scenes, to the costuming seen in the film.
• A Look Into the 23rd Century (480p, 9:18) is a retrospective piece that takes a generic look at the movie’s futuristic setting.
• Theatrical Trailer (480p, 2:56).
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