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Point Blank (1967)

7.5
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Ratings: 7.5/10 from 11,163 users  
Reviews: 119 user | 78 critic

After being double-crossed and left for dead, a mysterious man named Walker single-mindedly tries to retrieve the rather inconsequential sum of money that was stolen from him.

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(screenplay), (screenplay), 2 more credits »
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Cast

Cast overview, first billed only:
...
...
...
...
Lloyd Bochner ...
Frederick Carter
...
Stegman
...
Mal Reese
Sharon Acker ...
Lynne
...
Hired Gun
Sandra Warner ...
Waitress
Roberta Haynes ...
Mrs. Carter
...
First Citizen
Victor Creatore ...
Carter's Man
Lawrence Hauben ...
Car Salesman
Susan Holloway ...
Girl Customer
Edit

Storyline

Based on the theme of the individual pitted against the large, impersonal organization. Here the central character is an old-fashioned loner of a gunman embroiled with a large-scale, corporate criminal operation behind a respectable-looking 'front'. Without delving into psychology or motivation, the film places emphasis on action and surface appearances, superbly capturing the glossy, depersonalized feel of a 1967 Los Angeles--a nightmare landscape of concrete, glass and coiling freeways. Written by alfiehitchie

Plot Summary | Plot Synopsis

Taglines:

There are two kinds of people in his up-tight world: his victims and his women. And sometimes you can't tell them apart.

Genres:

Crime | Drama | Thriller

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

30 August 1967 (USA)  »

Also Known As:

A quemarropa  »

Box Office

Budget:

$3,000,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Metrocolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

Lee Marvin faked the recoil from the .44 Magnum when he shoots in Lynne's bed. These were in fact blanks, but afterward when shooting in Alcatraz they tried with real bullets and there was no recoil at all. Marvin said to director John Boorman, "Fiction overtakes reality". See more »

Goofs

While hiding out at Lynn's apartment after her death, Walker battles flashbacks and walks into an empty room and squats in the corner holding his head. The sound of his shoes clicking on the hardwood floor can be heard, although he is wearing only socks. See more »

Quotes

Walker: How bad does he want you, Chris?
Chris: Oh, I don't know. Who knows.
Walker: Yeah, you know. How bad?
Chris: Pretty bad, I guess.
Walker: Bad enough to let you through into the Huntley?
Chris: Why should I?
Walker: Well, it's up to you.
See more »

Connections

Referenced in Paybacks Are a Bitch (2007) See more »

Soundtracks

Mighty Good Times
by Stu Gardner
sung by The Stu Gardner Trio
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Point Blank contains inspiring visuals, a haunting soundtrack and some stunning acting. Fabulous, groundbreaking cinema.
15 December 1998 | by See all my reviews

In the wake of his Cannes Best Director award for The General, Boorman's stunning debut has been released with a new print. Unrelentingly downbeat, this stylish crime thriller made in 1967 seems to have fuelled virtually Elmore Leonard novel.

Steely, panther-like hitman Walker (marvellous Marvin) has been fitted up, shot at and had $93,0000 stolen from him all because of ex-pal Mal Reese (John Vernon). A tad upset he decides to resurrects himself, with the help of the shadowy Yost (Keenan Wynn) for revenge and his payment.

Boorman greets us with a five-minute sequence that is crammed with curious camera angles, fractured time-lines and carefully constructed compositions. We're bombarded by a montage of piercingly violent images blended together with fragments of a failed heist on Alcatraz Island and a pair of slugs ripping into Walker's body. We're only privy to these flash snippets of information, but they're still enough to help us empathise with Marvin's masterly obsessive.

A year or two later Walker is on a tourist boat trip to Alcatraz, being propositioned by Yost. The creepy Yost knows where Mal and his Walker ex-wife Lynne (Sharon Acker) are and is willing to reveal this to him, just as long as he receives some information on a shadowy body called "The Organisation". Walker simply nods. His dialogue is minimal, his obsession is reflected through his curt questions, his sudden movements, his eyes and the flashbacks that haunt him.

When he catches up with his cheating ex-wife he allows her to talk uninterrupted in a desperate, forlorn monotone - "He's gone. Cold. Moved out," she says. Walker barely takes it in, all that motivates him is the thought, "Somebody's gotta to pay."

While others flounder, Marvin appears impenetrable like one of Sergio Leone's cowboys. Only Clint Eastwood never conveyed this much emotion in his movements.

Boorman's seminal film preceded the spate of fabulous paranoia flicks that enriched 70s American cinema – The Conversation, The Parallax View, All The President's Men – where a shadowy "Organisation" pulls the nation's strings. Tarantino has since appropriated this organisation theme on a small-time level, plagarising the black suits and the unwavering professionalism of the violence. De Niro's ex-con in Jackie Brown is based on Marvin's Walker, as are countless other performances.

Even Angie Dickinson, playing Lynne's sister Chris, leaves him cold. In a remarkable scene she resorts to repeatedly slamming Walker's immovable slab of a chest. He remains impregnable, emotionally void. She keeps on punching until she finally collapses on the floor in a heap. They finally make love, only for the isolation, the loss of identity, to continue. Is he an avenging angel? Is he there at all?

"Hey, what's my last name?" asks a post-coital Chris. "What's my first name?" he deadpans, answering a question with another question. Always seeking answers, never providing them. No love left in him, only a need for payment.

Point Blank contains inspiring visuals, a haunting soundtrack and some stunning acting. Fabulous, groundbreaking cinema. --Ben Walsh


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