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Showing posts with label Lalo Schifrin. Show all posts
Showing posts with label Lalo Schifrin. Show all posts

Tuesday, March 22, 2011

Film Review: CHARLEY VARRICK (1973, Don Siegel)

Stars: 5 of 5.
Running Time: 111 minutes.
Notable Cast or Crew: Walter Matthau (CHARADE, THE TAKING OF PELHAM ONE TWO THREE), Joe Don Baker (WALKING TALL, MITCHELL), John Vernon (SAVAGE STREETS, DIRTY HARRY), Andy Robinson (DIRTY HARRY, HELLRAISER), Sheree North (THE OUTFIT, THE SHOOTIST), Norman Fell (THE GRADUATE, THE KILLERS), Felicia Farr (KOTCH, 3:10 TO YUMA), Craig R. Baxley (also did the stunts and directed ACTION JACKSON and many episodes of THE A-TEAM). Music by Lalo Schifrin (MISSION: IMPOSSIBLE, DIRTY HARRY, THE MANITOU). Written by Dean Riesner (DIRTY HARRY, PLAY MISTY FOR ME, FATAL BEAUTY) and Howard Rodman (COOGAN'S BLUFF, MADIGAN), and adapted from the novel THE LOOTERS by John Reese.
Tag-line: "When he runs out of dumb luck he always has genius to fall back on!"
Best one-liner: "Sooner or later, you're gonna tell me everything you know. So why not save yourself a great deal of pain, tell me now."

Don Siegel is the man. And CHARLEY VARRICK just might be his amoral, cutthroat masterpiece. THE KILLERS' hitmen protagonists, DIRTY HARRY's mildly fascist sensibilities, and COOGAN'S BLUFF's hateful 'tude toward the Love Generation were just pit stops on the way.

The late 60's and early 70's were chock full of gritty flicks like this; take-no-prisoners crime films populated by brutal, pistol-whippin', lady-slappin' sons-o-bitches: THE OUTFIT (with VARRICK co-stars Sheree North and Joe Don Baker), POINT BLANK, Bava's KIDNAPPED, PRIME CUT, THE MECHANIC, MEAN STREETS, GET CARTER, THE YAKUZA...I could go on.


Walter Matthau, as 'Charley Varrick,' is a gum-chewing, calculating, mercenary thief. His gang kills cops like some people check their watch, and they're willing to risk it all for a measley couple of grand from a local bank in Buttfuck, New Mexico. The only problem is it just happened to be a mob front, and they've ended up with three-quarters of a million dollars.

(But was it truly coincidence? See if you can determine the answer from Charley's unceasingly indifferent gaze.) But he's not a maniac. Far from it. He's perhaps the most rational being on the planet- completely committed to creating a plan that will ensure his survival during the certainly impending shitstorm. Said storm involves a totally dickish, crooked bank exec (John Vernon, who's played some of the best a-holes of all time):

a blundering gang member (played by Andy Robinson, the simperlingly psychotic 'Scorpio Killer' from DIRTY HARRY):

and the equally amoral but far more vicious "Molly" (Joe Don Baker), who is without a doubt the inspiration for Cormac McCarthy's killing machine, "Anton Chigurh":

(A lot here seems like the direct inspiration for NO COUNTRY FOR OLD MEN.) In fact, this film so openly flouts Hollywood rules and convention, that, as you watch it, you can literally feel its reverberations on American cinema through the years since. Tarantino, the Coen brothers, Christopher Nolan (THE DARK KNIGHT's clown-masked bank theft of mob money opening pays homage), and many others -some openly, and some not- have dug deep into the many layers of VARRICK and extracted little bits here and there for their own purposes. But it’s such an epic, cynical tour-de-force, that no amount of depths-trolling can deaden its punch-in-the-guts impact (or the fact that the finale astonishingly involves a '67 Chrysler Imperial versus a biplane).

Five stars.

-Sean Gill

Friday, April 30, 2010

Film Review: HELL IN THE PACIFIC (1968, John Boorman)

Stars: 5 of 5.
Running Time: 103 minutes.
Tag-line: "They hunted each other as enemies...they tormented each other as savages...they faced each other as men!"
Notable Cast or Crew: Lee Marvin. Toshiro Mifune. Music by Lalo Schifrin. Cinematography by Conrad L. Hall (COOL HAND LUKE, FAT CITY, TEQUILA SUNRISE).

Summer's coming up, so I'd like to devote at least a portion of the following few months to terrific "Summer Movies." For my purposes, a "summer movie" doesn't necessarily have to be actually set in the summer, though films which are incredibly evocative of the season itself warrant special consideration. On the whole, these are films best seen on hot, muggy nights when you're sprawled on the couch before an oscillating fan (because when you turn on the air conditioner it blows a circuit), sipping on an ice cold Yuengling, and perhaps accompanied by a sleazy super-nacho platter. Movies of this genre which I've already covered include HEARTBREAK RIDGE, BULLETPROOF, DEATH WISH III, EXTREME PREJUDICE, MR. MAJESTYK, THE LAST SHARK, and countless others. They can and will include everything from BIG TROUBLE IN LITTLE CHINA to EYE OF THE TIGER to THE BRIDGE ON THE RIVER KWAI to anything and everything featuring Clint Eastwood and/or an orangutan.

For those who haven't seen today's film, I don't wish to reveal too much about it, so I'll tiptoe around the plot itself. With HELL IN THE PACIFIC, Boorman shines at the two things he does best: portraying ordinary men in extraordinary survival situations, and working with Lee Marvin. As far as I'm concerned, this Boorman, the maker of POINT BLANK and DELIVERANCE, is the only true Boorman. The maker of ZARDOZ and EXORCIST II: THE HERETIC is somebody else entirely (and he genuinely apologized for them on the commentary tracks of those films, so, you're off the hook, John, and a bigger man than most).

The phrase 'tour-de-force performance' gets bandied about fairly often, and with an even greater frequency on films with two-person casts or those of a survival nature, so it should come as no surprise that I'm going to label what Marvin and Mifune do here as a tour-de-force. It's an excellent choice of actors, as Marvin and Mifune represent for their respective countries a very dignified, mature, in-control persona that can spin into unhinged rage or laid back joviality in a mere instant. They can effortlessly exude vulnerability and menace- an entire gamut of complex emotions- and often they express them simultaneously, a feat which only the rare actor can accomplish with such subtlety and elegance.


And you believe it. There is nothing in this film that will strain your suspension of disbelief. Everything is natural, REAL. It's remarkably visceral; you can almost taste the briny sting of the sea water, feel the sun relentlessly beating down on their backs, the sweat, the parched lips, the hoarse throats.


Boorman immerses us in this world, and very gradually transitions the narrative from start to finish– for its primal rages and thrashing survivalism, this is a very, very graceful film, filled to the brim with the stylistic touches and unorthodox editing choices that made POINT BLANK brilliant and transformed the outlooks of next generation filmmakers like Steven Soderbergh. A masterpiece, an allegory, and a tale of two men's attempts at survival. And make sure you watch the alternate ending, it's far superior and more consistent in tone with the rest of the film.

-Sean Gill

Junta Juleil's Summer '10 Movie Series
1. HELL IN THE PACIFIC (1968, John Boorman)
2. ...