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PRODUCT INFORMATION
Street Date 7/29/24
All pre-orders will be shipped as soon as they are in stock. Sometimes this is 1-2 weeks early, sometimes this might be a few days after the street date.
If other in-stock items are ordered at the same time, all items will ship together. If you want your in-stock items shipped immediately, please place pre-orders separately.
All dates, artwork and features are subject to change.
Pre-orders will be charged when you place the order.
No cancellations on pre-orders.
In 1970s Brooklyn, gentrification is already beginning to take hold in the predominantly black neighbourhood of Park Slope. Spoiled trust fund kid Elgar Enders (Beau Bridges) buys an apartment block in the area with the intention of evicting the tenants and building himself a bachelor pad. But upon moving in and unexpectedly befriending the inhabitants, he decides to let them stay and become their landlord. Rebelling against his rich, racist family, he embarks on affairs with two black women, causing uproar in the country clubs and the ghetto tenements of Park Slope alike. This outrageous satire marks the debut of Hal Ashby (Harold and Maude) as director, with a wicked script from Bill Gunn (Ganja & Hess) and stunning photography from Gordon Willis (The Godfather). The Landlord is a scabrous and unflinching look at race relations far ahead of its time, and a unique and important work in the annals of American screen comedy.
FEATURES:
2K transfer by Kino Lorber
Uncompressed mono PCM audio
The Racial Gap - An interview with star Beau Bridges (2019, 25 mins)
Reflections - An interview with star Lee Grant (2019, 26 mins)
Style and Substance - An interview with producer Norman Jewison (2019, 29 mins)
A new interview with Hal Ashby biographer Nick Dawson (2024)
An interview with broadcaster and author Ellen E. Jones (2024)
Trailer
Optional English subtitles for the deaf and hard of hearing
Reversible sleeve featuring original and newly commissioned artwork by Vincent Wild
Limited edition booklet featuring new writing by critic Jourdain Searles, plus an archival piece with Hal Ashby
All pre-orders will be shipped as soon as they are in stock. Sometimes this is 1-2 weeks early, sometimes this might be a few days after the street date.
If other in-stock items are ordered at the same time, all items will ship together. If you want your in-stock items shipped immediately, please place pre-orders separately.
All dates, artwork and features are subject to change.
Pre-orders will be charged when you place the order.
No cancellations on pre-orders.
In 1970s Brooklyn, gentrification is already beginning to take hold in the predominantly black neighbourhood of Park Slope. Spoiled trust fund kid Elgar Enders (Beau Bridges) buys an apartment block in the area with the intention of evicting the tenants and building himself a bachelor pad. But upon moving in and unexpectedly befriending the inhabitants, he decides to let them stay and become their landlord. Rebelling against his rich, racist family, he embarks on affairs with two black women, causing uproar in the country clubs and the ghetto tenements of Park Slope alike. This outrageous satire marks the debut of Hal Ashby (Harold and Maude) as director, with a wicked script from Bill Gunn (Ganja & Hess) and stunning photography from Gordon Willis (The Godfather). The Landlord is a scabrous and unflinching look at race relations far ahead of its time, and a unique and important work in the annals of American screen comedy.
FEATURES:
2K transfer by Kino Lorber
Uncompressed mono PCM audio
The Racial Gap - An interview with star Beau Bridges (2019, 25 mins)
Reflections - An interview with star Lee Grant (2019, 26 mins)
Style and Substance - An interview with producer Norman Jewison (2019, 29 mins)
A new interview with Hal Ashby biographer Nick Dawson (2024)
An interview with broadcaster and author Ellen E. Jones (2024)
Trailer
Optional English subtitles for the deaf and hard of hearing
Reversible sleeve featuring original and newly commissioned artwork by Vincent Wild
Limited edition booklet featuring new writing by critic Jourdain Searles, plus an archival piece with Hal Ashby