NOTE: The below Blu-ray and 4K UHD captures were taken directly from the respective discs.

ADDITION: Indicator 4K UHD (March 2025): Indicator have transferred Simon Wincer's Harlequin to 4K UHD. It is cited as being from a "Brand-new 4K HDR restoration from the original negative by Powerhouse Films". It offers a Dolby Vision (HDR10 compatible) transfer pass. It's quite an obvious upgrade from the 88 Films 1080P reviewed by Colin in 2018, HERE. Harlequin was shot by acclaimed cinematographer Russell Boyd (Picnic at Hanging Rock, The Last Wave, Gallipoli), and it plays a pivotal role in establishing its tone and enhancing its thematic depth. The film’s “look” is a deliberate blend of atmospheric elegance and subtle unease, balancing the grounded realism of its political thriller elements with the ethereal ambiguity of its supernatural undertones. The 2160P presentation balances the colors (notably flesh tones that normalize from 88 Films' orange-ness), red, greens deepen (foliage, clown wig etc.) and textures are consistent. One standout sequence is Wolfe’s initial arrival, where the camera lingers on his slow, deliberate movements against a backdrop of natural beauty (filmed in Western Australia). The juxtaposition of his theatrical presence against the vast, open landscape reinforces his larger-than-life persona. Overall a very pleasing upgrade - more information in the frame - in 4K UHD video from Indicator.  

It is likely that the monitor you are seeing this review is not an HDR-compatible display (High Dynamic Range) or Dolby Vision, where each pixel can be assigned with a wider and notably granular range of color and light. Our capture software if simulating the HDR (in a uniform manner) for standard monitors. This should make it easier for us to review more 4K UHD titles in the future and give you a decent idea of its attributes on your system. So our captures may not support the exact same colors (coolness of skin tones, brighter or darker hues etc.) as the 4K system at your home. But the framing, detail, grain texture support etc. are, generally, not effected by this simulation representation.

NOTE: We have added 54 more large resolution 4K UHD captures (in lossless PNG format) for DVDBeaver Patrons HERE

On their 4K UHD, Indicator use a DTS-HD Master mono track (24-bit) in the original English language. The audio design of Harlequin is a critical component of its atmospheric tension and thematic resonance, complementing its visual style with a carefully crafted soundscape. Comprising an evocative score by Brian May (Cloak and Dagger, and who composed for Richard Franklin's Road Games and other Ozploitation films like Snapshot, The Survivor, Turkey Shoot, and Nightmares.) It is a standout feature - also offered as an isolated score - that drives its mood and narrative ambiguity. May’s music fuses orchestral grandeur with eerie, synthetic undertones, reflecting the story’s dual nature - grounded political machinations juxtaposed with mystical uncertainty. The main theme, often carried by strings and woodwinds, has a haunting, lyrical quality that evokes both wonder and unease, perfectly suiting Gregory Wolfe’s enigmatic presence. Authentically flat in the lossless but still retaining some resonance. Indicator offer optional English (SDH) subtitles on their Region FREE 4K UHD.

The Indicator 4K UHD offers a vintage commentary by director Simon Wincer and producer Antony I. Ginnane, featured on the DVD releases from Umbrella Entertainment (Australia, October 27th, 2004) and Image Entertainment (US, June 8th, 2004, under the title Dark Forces.) Recorded over two decades after the movie’s 1980 release, it provides a reflective look at the production from two key figures involved, blending behind-the-scenes insights with personal anecdotes. Wincer and Ginnane bring a wealth of experience to the table - Wincer as the director navigating his early feature film career and Ginnane as a seasoned producer known for his work in Australian genre cinema. This offers a glimpse into the creative compromises and international ambitions behind the film. They also address Harlequin’s place in the Australian New Wave and “Ozploitation” movement, with Ginnane framing it as a commercial success within that context. The commentary discussion remains relevant. There are a number of ‘Not Quite Hollywood’ interviews from 2008. This extensive selection of outtakes comes from Mark Hartley’s acclaimed documentary on Australian cinema. It features Wincer, Ginnane, writer Everett De Roche, and actor Gus Mercurio (who played Mr. Bergier), these interviews delve into the film’s place within the Australian New Wave and its genre-blending ambitions. There are candid reflections on the era’s filmmaking culture and Harlequin’s production quirks. Destruction from Down Under was from the 88 Films' Blu-ray. Film critic Kim Newman delivers a retrospective on the Australian genre film boom of the 1970s and 1980s. Running around 1/4 hour this piece situates Harlequin within the Ozploitation movement, highlighting its mix of political intrigue and mysticism as a standout trait. There is a 1/4 hour new appreciation by Stephen Morgan offering a scholarly take on the film’s themes - power, faith, and deception - and its cultural significance. It’s a fresh addition, tailored for this release providing a more analytical lens. Included is an archival interview with David Hemmings and Robert Powell from 1980, with broadcaster Anne Wills and an short archival interview with Everett De Roche from 2007 where the prolific writer discusses his career with Shannon Marinko and Lee Zachariah. There are archival audio interviews with Simon Wincer from 1979 for 1 1/4 hours where the Harlequin director talks to filmmaker Rod Bishop and Peter Beilby, co-creator of Cinema Papers. Plus archival audio interviews with Associate Producer Jane Scott also from 1979 for over 50-minutes as well as Production Designer Bernard Hides for over 1/2 an hour.  Lastly are two Australian theatrical trailers and a US Dark Forces theatrical trailer as well as image gallery of promotional and publicity materials, script galleries on dialogue continuity and screenplay. The package has a limited edition exclusive 80-page book with a new essay by Julian Upton, exclusive extracts from producer Antony I. Ginnane’s unpublished memoirs, an archival interview with Ginnane, and film credits. In a word "stacked".

Simon Wincer's Harlequin builds toward a climax that intertwines political conspiracy with hints of the supernatural, leaving viewers questioning whether Wolfe is a savior, a charlatan, or something more sinister. Powell’s portrayal of Wolfe is the film’s linchpin, exuding an otherworldly charm that oscillates between benevolence and menace. His character draws heavily on the Harlequin archetype from commedia dell’arte - a trickster figure known for agility, wit, and duality. At its heart, Harlequin examines the nature of power - political, personal, and supernatural. Nick wields influence through his status, while Wolfe exerts a more insidious control through charisma and apparent miracles. Carmen Duncan’s Sandra is the emotional core of the film, torn between gratitude for Wolfe’s miracle and suspicion of his intentions. Her vulnerability contrasts sharply with Nick’s pragmatism, highlighting the gendered power dynamics within the story. Beyond political corruption is the theme of faith vs. skepticism. The film never fully resolves this, reflecting the ambiguity of faith in a rational world. It's a fascinating film that merges political thriller conventions with supernatural intrigue. Its strength lies in its refusal to provide easy answers, instead offering a meditation on power, belief, and deception wrapped in a stylish package. For fans of cerebral thrillers or Robert Powell’s hypnotic screen presence, it’s a film worth revisiting, revealing new layers with each re-watch. I am so pleased with Indicator's stacked 4K UHD package. An easy recommendation for Ozploitation completists of those keen on its supernatural conventions.

Gary Tooze