Richard spots a man dumping a body, and decides to expose the man he thinks is the culprit with his friend Alex Cutter.

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Cast

Cast overview, first billed only:
...
...
...
'Mo'
Ann Dusenberry ...
Valerie Duran
Stephen Elliott ...
J. J. Cord
Arthur Rosenberg ...
George Swanson
Nina van Pallandt ...
Woman in the Hotel (as Nina Van Pallandt)
...
Mrs. Cord
Geraldine Baron ...
Susie Swanson
Katherine Pass ...
Toyota Woman
...
Toyota Man (as Frank McCarthy)
George Planco ...
Toyota Cop
Jay Fletcher ...
Cord Security Guard
George Dickerson ...
Mortician
Jack Murdock ...
Concession Owner
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Storyline

Alex Cutter (John Heard) came back from the war minus an eye, a leg and an arm. He drinks a lot and abuses his wife, who also drinks a lot. Richard Bone (Jeff Bridges) is a friend who witnesses a murder. From this point John is "after" the killer, alongside the diseased sister, while Jeff doesn't really want to get involved in it. Written by Jonathan <jrd@netvision.net.il>

Plot Summary | Plot Synopsis

Taglines:

Bone saw the killer. Cutter knew the motive. See more »


Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

10 February 1982 (France)  »

Also Known As:

Cutter and Bone  »

Filming Locations:

 »

Box Office

Budget:

$3,000,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The film's growing amount of positive reviews prompted United Artists to give the film to their "art" division, United Artists Classics, where they changed the film's title from "Cutter and Bone" to "Cutter's Way" (thinking that the original title would be mistaken by audiences for a comedy about surgeons). It was given the prestigious closing feature slot at the Seattle Film Festival. With a new ad campaign in place, Cutter's Way re-opened in the summer of 1981 in Seattle, Los Angeles, Boston, and New York City. Word of mouth helped the film turn a profit. See more »

Goofs

Valerie's disappearance is never explained neither noted by the main characters. See more »

Quotes

Alex Cutter: I don't drink. You know, the routine grind drives me to drink. Tragedy, I take straight.
See more »

Connections

References Gone with the Wind (1939) See more »

Soundtracks

We're Old Enough to Know
Music by Jack Nitzsche
Lyrics by John Byrum
Vocals by Jack Nitzsche
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User Reviews

Don Quixote At The Country Club
20 June 2003 | by (Zurich, Switzerland) – See all my reviews

Cutter's Way cannot be overpraised. This movie is a masterpiece of the first order. Ivan Passer, a compatriot of Milos Forman, came to the USA as an experienced Czech movie director. Not unlike Alfred Hitchcock or some German directors 30 years before him, he seems to have made a thorough analysis of the American social conditions and general manners. He then transformed his findings into movies. Two of them I know deal with New York. They are appropriately gritty. The setting of Cutter's way is a Californian beach community for the rich and beautiful – and the movie is appropriately glossy. The whole story takes place in those paradisiac locales. They are presented like an enchanted kingdom, a country of its own.

Under the glossy surface, there is a darker side to the place. There is prostitution, drug abuse and murder. Cutter, living on the fringes of the enchanted kingdom, sees that more clearly than everyone else. He has his own code of chivalry by which he wants to live. He develops conspirational theories and strains to convert them into hard facts. The world around him, populated by indifferent, amoral rich and beautiful people, does not understand him, does not even want to listen, laughs at him. So Cutter mounts a white stallion and rides a charge.

Repeatedly the film slips into surrealistic situations, in which the impression made on the viewers is more relevant than the storyline. This technique was well known in the forties (e.g. in film noir), present day audience are less used to it. In the earlier days of film making, surrealism was created on a soundstage, and the change between reality and "dream" became immediately clear. Passer uses real locations for situations removed from reality – a daring experiment that rewards the viewers with hauntingly beautiful pictures but might also confuse many. The director took this risk and we are rewarded with a magnificent picture about a distinguished slice of America. I predict: Cutter‘s way will one day become an honored classic.


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