During World War II, an American pilot and a marooned Japanese navy captain are deserted on a small uninhabited island in the Pacific Ocean. There, they must cease their hostility and cooperate if they want to survive, but will they?
Samuel Pierret (Gilles Lellouche) is a nurse who saves the wrong guy -- a thief (Roschdy Zem) whose henchmen take Samuel's pregnant wife (Elena Anaya) hostage to force him to spring their ... See full summary »
Convicted corporate criminal Howard engineers a prison break as he and a number of fellow inmates are being transferred to a new facility. The escapees storm a shopping mall and take a ... See full summary »
Matt Earl Beesley
Prince Leo, last in the line of rulers of a long-deposed monarchy on continental Europe and jaded with the frenetic search for kicks with the European jet-set, returns to his father's ... See full summary »
Dinah is a model whose face appears in an ad campaign for meat. While shooting a TV commercial, she and Steve, one of the stunt men, run off together. The advertising executives use their ... See full summary »
The Dave Clark Five,
A semiautobiographical project by John Boorman about a nine year old boy called Bill as he grows up in London during the blitz of World War 2. For a young boy, this time in history was more... See full summary »
Intent on seeing the Cahulawassee River before it's turned into one huge lake, outdoor fanatic Lewis Medlock takes his friends on a river-rafting trip they'll never forget into the dangerous American back-country.
Laura is trying to pick up the pieces of her life after the murder of her husband and son, and goes on vacation with her sister to Burma. After losing her passport at a political rally, she... See full summary »
U Aung Ko,
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
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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