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Point Blank (1967)

7.5
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Ratings: 7.5/10 from 11,465 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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Title: Point Blank (1967)

Point Blank (1967) on IMDb 7.5/10

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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
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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

During a rehearsal taking place in the home of Lee Marvin, he hit John Vernon so hard that it made Vernon cry. See more »

Goofs

When Big John sits in the car with Walker at the car lot, a large studio light is reflected on the side window of the windshield. See more »

Quotes

Chris: What's my last name?
Walker: What's my first name?
See more »

Connections

Featured in Walls in the City (1994) 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

"I want my $93,000!"
9 February 2007 | by (The Dutch Mountains) – See all my reviews

Love it, great film.

For one thing, POINT BLANK, directed by British director John Boorman, has all the good looks of the various movements of the European New Wave, but walks the walk and talks the talk of an American thriller, and I mean that as a good thing. Boorman's brilliantly composed combination of European artfulness with film-noir elements make for an exceptionally rich and multi-layered crime thriller.

Lee Marvin, in typically emotionless fashion, is the remorseless Walker who, after pulling off a successful heist from the mob, is double-crossed, shot and left for dead in the now abandoned Alcatraz prison by his wife (Sharon Acker) and his partner-in-crime (John Vernon). Walker survives, escapes and moves to LA, where he kills his way up the ladder of a vaguely defined organized crime syndicate called "The Organization", hardly distinguishable from a legitimate cooperate business, in order to get his $93,000, occasionally aided by his sister, Chris (a great Angie Dickinson), who seems to know Walker's targets pretty well.

Philip Wisethrop's widescreen compositions are absolutely stunning. One of the most impressive scenes is when Walker is fighting two hoods in a nightclub, against a swirling psychedelic backdrop, to the strains of the R&B houseband, with its black singer hysterically shouting letting the mostly white clientèle shout with him in his microphone. But every scene is a marvel to watch, with every detail painstakingly composed without getting stiff or forced in any way. Even the car windows are almost unrealistically spotless, in order to film Walker through the glass with the reflections of the city on his face.

The film is packed with all kinds of surreal surroundings and lots of flashbacks concerning Walker's past. Boorman's games with narrative time, with extensive use of echoing flashbacks and jump-cuts, are the perfect reflection of Walker's dream-like struggle for justice, He's the typical tragic (noir)-hero, in a perpetual struggle to grasp what happened to him. He desperately tries to comprehend the situation he's in, but hasn't got a clue who's who and his outdated moral codes make him seem an even bigger anomaly in the modern corporate world he works his way into.

Whether this is all actually happening or it's all a mind-spin inside Walker's head is impossible to say. Best to enjoy the ride in this true genre classic, definitely one of the best American thrillers of the '60s. If you get the chance, watch it together with Melville's LE SAMOURAI (1967) and Seijun Suzuki's BRANDED TO KILL (1967), in many ways its French and Japanese counterparts.

Camera Obscura --- 9/10


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