I've only watched Part I of this two-part miniseries but it's possible to see with some clarity where it's going. I may have managed to see the whole thing when it was released some twenty years ago but didn't remember any of it except for the criminally beautiful Jaclyn Smith and a sexy scene in which Jason Bourne, Richard Chamberlain, tenderly undresses her. Don't worry. No nudity, and the sex is all slow-motion close ups and dissolves, one cliché following in lockstep on the heels of the previous one.
Compared to the more recent release with Matt Damon in the title role, it's better than I'd expected. TV movies don't have the time for rehearsals and the budget imposes other limits on the production. I worked in a miniseries with Jaclyn Smith -- the critically acclaimed cult hit, "Sidney Sheldon's Windmills of the Gods" -- and it was slam-bang fast.
Compared to the recent version, this one is more of a mystery than an action movie, and although I gather it sticks closer to Ludlum's novel (you can do that better in three hours than in half that time) it still has a couple of holes that were missing from the Matt Damon feature. It was never hard to follow the feature film but this series sometimes lost me in its divagations. In the film we get a good look at every piece of information Damon uncovers in his search for his identity. Here, sometimes Chamberlain acts on intuition.
The lack of rehearsal time and character development shows too. Two times, in Part I, someone mentions how good Chamberlain is at fighting and killing people. But he's not particularly good at it. He gets the crap beaten out of him several times. And when he pulls a hidden gun from his sock and blows his captor away, it's something any routine Private Eye could do. The magisterial mano a mano combat in the feature film required extensive choreography and rehearsal. It was evidently based on karel maga, the most brutal form of martial arts. We were treated to some practice in it while I was in boot camp, only it didn't have a name then. Here's one of the lessons. If you're in a fight for your life, you use whatever objects are at hand -- ball-point pens or blankets -- and you can't lose if you simply pop the other guy's eyeball out with your thumb, as if it were a grape. That's what a professional assassin would learn. Chamberlain, on the other hand, seems to know nothing of this. His natural form is the fist fight, like those you've seen in thousands of other movies. Easier to learn and to choreograph, therefore easier and faster to shoot, and therefore less expensive.
Chamberlain's conception of Bourne's character is different from Damon's. Not necessarily worse than Damon's, but different. Chamberlain's Bourne is constantly puzzled by what he's being put through, and shows an occasional cranky mood. Half the time he's unsure of himself, uncertain about what to do next. And the writers have him (and Jaclyn Smith too) talk to themselves quite a bit so the viewer can keep up with his thoughts and the emotions that accompany them. "What am I doing here?" Or, "That CAN'T be true." Or, waiting for someone to answer a phone, "Come on! Come on!" Damon's Bourne acts almost entirely on instinct. He seems to remember more of how to behave like a prey animal, and he remembers how to speak French and German. He strides quickly from place to place and he reacts impulsively and with skill in situations of violence. He's entirely aware of his surroundings and their potential, while Chamberlain is befuddled by them.
The miniseries, like the film, was shot in European locations and captures well the chill drizzle of a continental winter in Zurich and Paris. Not a bad effort, all things taken into account.
Compared to the more recent release with Matt Damon in the title role, it's better than I'd expected. TV movies don't have the time for rehearsals and the budget imposes other limits on the production. I worked in a miniseries with Jaclyn Smith -- the critically acclaimed cult hit, "Sidney Sheldon's Windmills of the Gods" -- and it was slam-bang fast.
Compared to the recent version, this one is more of a mystery than an action movie, and although I gather it sticks closer to Ludlum's novel (you can do that better in three hours than in half that time) it still has a couple of holes that were missing from the Matt Damon feature. It was never hard to follow the feature film but this series sometimes lost me in its divagations. In the film we get a good look at every piece of information Damon uncovers in his search for his identity. Here, sometimes Chamberlain acts on intuition.
The lack of rehearsal time and character development shows too. Two times, in Part I, someone mentions how good Chamberlain is at fighting and killing people. But he's not particularly good at it. He gets the crap beaten out of him several times. And when he pulls a hidden gun from his sock and blows his captor away, it's something any routine Private Eye could do. The magisterial mano a mano combat in the feature film required extensive choreography and rehearsal. It was evidently based on karel maga, the most brutal form of martial arts. We were treated to some practice in it while I was in boot camp, only it didn't have a name then. Here's one of the lessons. If you're in a fight for your life, you use whatever objects are at hand -- ball-point pens or blankets -- and you can't lose if you simply pop the other guy's eyeball out with your thumb, as if it were a grape. That's what a professional assassin would learn. Chamberlain, on the other hand, seems to know nothing of this. His natural form is the fist fight, like those you've seen in thousands of other movies. Easier to learn and to choreograph, therefore easier and faster to shoot, and therefore less expensive.
Chamberlain's conception of Bourne's character is different from Damon's. Not necessarily worse than Damon's, but different. Chamberlain's Bourne is constantly puzzled by what he's being put through, and shows an occasional cranky mood. Half the time he's unsure of himself, uncertain about what to do next. And the writers have him (and Jaclyn Smith too) talk to themselves quite a bit so the viewer can keep up with his thoughts and the emotions that accompany them. "What am I doing here?" Or, "That CAN'T be true." Or, waiting for someone to answer a phone, "Come on! Come on!" Damon's Bourne acts almost entirely on instinct. He seems to remember more of how to behave like a prey animal, and he remembers how to speak French and German. He strides quickly from place to place and he reacts impulsively and with skill in situations of violence. He's entirely aware of his surroundings and their potential, while Chamberlain is befuddled by them.
The miniseries, like the film, was shot in European locations and captures well the chill drizzle of a continental winter in Zurich and Paris. Not a bad effort, all things taken into account.