IMDb > Point Blank (1967)
Point Blank
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Point Blank (1967) More at IMDbPro »

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Overview

User Rating:
7.5/10   11,177 votes »
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Down 9% in popularity this week. See why on IMDbPro.
Director:
Writers:
Alexander Jacobs (screenplay) and
David Newhouse (screenplay) ...
(more)
Contact:
View company contact information for Point Blank on IMDbPro.
Release Date:
30 August 1967 (USA) See more »
Genre:
Tagline:
There are two kinds of people in his up-tight world: his victims and his women. And sometimes you can't tell them apart.
Plot:
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. Full summary » | Full synopsis »
User Reviews:
A genre movie unlike any other. See more (119 total) »

Cast

  (in credits order) (verified as complete)

Lee Marvin ... Walker

Angie Dickinson ... Chris

Keenan Wynn ... Yost

Carroll O'Connor ... Brewster
Lloyd Bochner ... Frederick Carter

Michael Strong ... Stegman

John Vernon ... Mal Reese
Sharon Acker ... Lynne

James Sikking ... Hired Gun
Sandra Warner ... Waitress
Roberta Haynes ... Mrs. Carter

Kathleen Freeman ... First Citizen
Victor Creatore ... Carter's Man
Lawrence Hauben ... Car Salesman
Susan Holloway ... Girl Customer

Sid Haig ... 1st Penthouse Lobby Guard

Michael Bell ... 2nd Penthouse Lobby Guard
Priscilla Boyd ... Receptionist
John McMurtry ... Messenger
Ron Walters ... Young Man in Apartment
George Strattan ... Young Man in Apartment
Nicole Rogell ... Carter's Secretary
Rico Cattani ... Reese's Guard
Roland La Starza ... Reese's Guard (as Roland LaStarza)
rest of cast listed alphabetically:

Lauren Bacall ... Herself - Actress in Film Clip from 'The Cobweb' (archive footage) (uncredited)
Casey Brandon ... Dancer (uncredited)
Jerry Catron ... Minor Role (uncredited)
Bonnie Dewberry ... Dancer (uncredited)

Barbara Feldon ... Girl in TV commercial (uncredited)
Carey Foster ... Dancer (uncredited)

Bill Hickman ... Reese's Guard on Balcony (uncredited)

Chuck Hicks ... Guard (uncredited)

John Kerr ... Himself - Actor in Film Clip from 'The Cobweb' (archive footage) (uncredited)
Dave Kujawski ... Fairfax (uncredited)
Karen Lee ... Waitress (uncredited)
Joseph Mell ... Minor Role (uncredited)
Andrew Orapeza ... Desk Clerk (uncredited)
Cosmo Sardo ... Conventioneer (uncredited)
Jeffrey Sayre ... Spectator at Death Scene (uncredited)

Felix Silla ... Bellhop (uncredited)
Guy Way ... Bill - Brewster's Chauffeur (uncredited)
Ted White ... Football Player (uncredited)
Louis Whitehill ... Policeman (uncredited)
Roseann Williams ... Dancer (uncredited)
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Directed by
John Boorman 
 
Writing credits
Alexander Jacobs (screenplay) and
David Newhouse (screenplay) &
Rafe Newhouse (screenplay)

Donald E. Westlake (novel "The Hunter") (as Richard Stark)

Produced by
Judd Bernard .... producer
Robert Chartoff .... producer
Irwin Winkler .... producer
 
Original Music by
Johnny Mandel 
 
Cinematography by
Philip H. Lathrop (director of photography)
 
Film Editing by
Henry Berman 
 
Art Direction by
Albert Brenner 
George W. Davis 
 
Set Decoration by
F. Keogh Gleason  (as Keogh Gleason)
Henry Grace 
 
Costume Design by
Margo Weintz (uncredited)
 
Makeup Department
Sydney Guilaroff .... hair styles
William Tuttle .... makeup artist
John Truwe .... makeup artist (uncredited)
 
Production Management
Edward Woehler .... unit production manager
 
Second Unit Director or Assistant Director
Al Jennings .... assistant director
Mickey Lewis .... assistant director (uncredited)
Christopher Seitz .... assistant director (uncredited)
 
Art Department
Matty Azzarone .... leadman (uncredited)
Frank Wesselhoff .... painter (uncredited)
 
Sound Department
Franklin Milton .... recording supervisor
Clint Althouse .... boom operator (uncredited)
Frank Antunez .... sound recordist (uncredited)
Van Allen James .... sound editor (uncredited)
Larry Jost .... sound mixer (uncredited)
 
Visual Effects by
J. McMillan Johnson .... special visual effects
 
Stunts
Boyd Cabeen .... stunt double (uncredited)
Jerry Catron .... stunts (uncredited)
Bill Hickman .... stunts (uncredited)
Chuck Hicks .... stunts (uncredited)
Carey Loftin .... stunts (uncredited)
Ted White .... stunts (uncredited)
 
Camera and Electrical Department
Virgil Apger .... still photographer (uncredited)
William N. Clark .... assistant camera (uncredited)
Cliff King .... camera operator (uncredited)
 
Costume and Wardrobe Department
Lambert Marks .... wardrobe (uncredited)
Margo Weintz .... wardrobe (uncredited)
 
Editorial Department
William Stair .... color consultant
 
Music Department
Robert Armbruster .... conductor (uncredited)
Paul Beaver .... musician: keyboards (uncredited)
Harry Bluestone .... musician: violin (uncredited)
Ray Brown .... musician: bass (uncredited)
Billy Byers .... musician: keyboards (uncredited)
Billy Byers .... orchestrator (uncredited)
George 'Red' Callender .... musician: bass (uncredited)
Gene Cipriano .... musician (uncredited)
Victor Feldman .... musician: drums (uncredited)
Artie Kane .... musician: keyboards (uncredited)
Mel Lewis .... musician: drums (uncredited)
Virginia Majewski .... musician: viola (uncredited)
Johnny Mandel .... conductor (uncredited)
Johnny Mandel .... orchestrator (uncredited)
Red Mitchell .... musician: bass (uncredited)
Uan Rasey .... musician: trumpet (uncredited)
Emil Richards .... musician: drums (uncredited)
Aaron Rochin .... music engineer (uncredited)
Bud Shank .... musician: flute (uncredited)
Ray Sherman .... musician: keyboards (uncredited)
 
Other crew
Patricia Casey .... production associate
Rafe Newhouse .... assistant to producer
David Steen .... special photographs for production
Norman Stuart .... dialogue coach
Doris Grau .... script supervisor (uncredited)
Robert Sunderland .... location manager (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
92 min
Country:
Language:
Color:
Color (Metrocolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Argentina:16 | Australia:M | Finland:K-16 | Germany:16 (re-rating) | Norway:18 | Norway:16 (cut) | Portugal:M/12 | Portugal:17 (original rating) | Sweden:15 | UK:X (original rating) | UK:18 (tv rating) | UK:18 (online) (2009) | UK:15 (re-rating) (1998) | UK:18 (video rating) (1993) | USA:Approved (MPAA rating: certificate #21489) (Suggested for Mature Audiences) | West Germany:18 (original rating)

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:
Crew or equipment visible: 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:
Brewster:You're a very bad man, Walker, a very destructive man! Why do you run around doing things like this?
Walker:I want my money. I want my $93,000.
Brewster:$93,000? You threaten a financial structure like this for $93,000? No, Walker, I don't believe you. What do you really want?
Walker:I - I really want my money.
Brewster:Well, I'm not going to give you any money and nobody else is. Don't you understand that?
Walker:Who runs things?
Brewster:Carter and I run things. I run things.
Walker:What about Fairfax? Will he pay me?
Brewster:Fairfax is a man who signs checks.
Walker:No, cash.
[...]
See more »
Movie Connections:
Referenced in I Spit on Your Grave (1978)See more »
Soundtrack:
Mighty Good TimesSee more »

FAQ

Is the 1999 Mel Gibson movie "Payback" a remake of the 1967 movie "Point Blank" with Lee Marvin ?
See more »
47 out of 53 people found the following review useful.
A genre movie unlike any other., 5 June 2006
Author: Robert J. Maxwell (rmax304823@yahoo.com) from Deming, New Mexico, USA

When I worked in a psychiatric hospital I noticed that one or two of the patients had a peculiar tendency to stand up, start walking purposefully across the ward, stop and look around, then begin walking just as purposefully in another direction, then sit down again. A kind of ambulatory non sequitur.

This whole movie is like that. I mean that to be a compliment. People break up the interactive script they've initiated and do something completely unpredictable. I'll just give one example. Walker (Marvin) and his companion (Angie Dickenson) have an argument and she begins whacking him across the head with her purse. At first he guards himself with his arms but then lowers them and stands silently and without any expression as she beats him, slaps him, and pounds his chest, finally slumping to the floor exhausted. At that, he strides wordlessly to the couch, plops down, turns on the TV and begins surfing the channels.

It's a neo-noir film if there ever was one. There is betrayal, a false woman, suicide, multiple double crosses, revenge, an urban setting, and an ambiguous ending.

So, although it is a genre film, it is nevertheless unique. Everything comes together. The production designer gives us sterile urban vistas, featuring bland cement boxes and the Los Angeles River, without which no noir would be complete. The apartments these people live in look like ordinary arid gray middle-class bourgeois digs. Wardrobe, too, has fitted these performers out in ordinary suits and ties, and the women are always rather chic looking.

The direction and editing are splendid. I'll give an example of what I mean here, too. Lee Marvin throws John Vernon out on the roof of his penthouse, wrapped only in a bed sheet. Vernon begins to tumble over the edge, Marvin grabs for him but winds up holding only the sheet while Vernon plunges some dozen floors to the street below. (His body winds up impossibly intact. A cat might have survived such a fall but a full-grown man would have splashed.) In an ordinary movie, we'd get a cut from the body hitting the street to Marvin staring down at it over the railing. But here, Marvin is still holding the sheet. Not only that but it's WINDY on the fourteenth floor roof and the wind is whipping the sheet up into billows around Marvin, like some demonic object with its own malevolent life force, before he is finally able to unwrap himself and fling it away.

The editing gives us a couple of brief flashbacks, but not just to evoke a mood. They are instrumental in letting us know what Marvin is thinking. Marvin is holding a gun to his ex-pal's, Vernon's, face and the poor guy faints until Marvin slaps him awake, and then he begs Marvin to trust him. A flashback lasting only a few seconds reminds us of an earlier scene in which Vernon begged Marvin's help in carrying out a heist and shouted at him, "Walker! Trust me!" The editing is so precise that in this -- and in a dozen other scenes -- a few seconds more or less would drain them of their impact.

The score is by Johnny Mandel, an arranger and composer whose work I've admired for years. He was a child prodigy, played both trumpet and trombone with Tommy Dorsey's band before turning to composing and arranging. He's never edgy or irritating. His music is smooth and melodic and sometimes strangely orchestrated. Here he suits his talents to the demands of the scene. When a man is trying to seduce a woman, a romantic piano melody tinkles behind them. At other times, again depending on the context, the score glides from Henry Mancini to Gil Evans. Nicely done.

So is the acting. Marvin has been this good in other films but never better. The plot has to do with his regaining $93,000 that "the organization" has cheated him out of. (There is no mafia-ness to the movie. The only foreign language we hear is Portugese.) And $93K was a lot of money then. You could find gas at 29 cents a gallon. Marvin more or less kills his way up the ladder searching for someone in a position to "pay me my money." He finally gets to Carrol O'Connor who explains to him that in a huge corporation like this, nobody ever handles any money. O'Connor has got maybe eleven dollars in his wallet. And Marvin, holding a gun on him, hesitates and looks genuinely put out -- puzzled, the way a child might be puzzled by a disappointing reply. ("No, there's no Santa Claus.") I think I'll leave it at that before I run out of space. I've pretty much skipped the plot but that must be adequately covered elsewhere. Besides, the plot is either extremely simple or very complicated indeed, depending on how far you want your conjectures to dig. (Is the whole movie nothing more than the fantasy of Marvin as he lies dying on Alcatraz after being shot at the beginning of the story? See what I mean?) Don't miss it.

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Message Boards

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Huntley House (or Huntley Hotel)? jwc53531
The Worst Film Ever?? jonohargrave
Cool flick, but I prefer Payback tarena02
Steal from the mob, payback said mob, to get back into said mob??? gorelog
Point Blank on DVD ejayeff
Need Help explaining some parts from film. xxmen-912-495582
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