Based on the Starkweather-Fugate killing spree of the 1958, in which a fifteen-year-old girl and her twenty-five-year-old boyfriend slaughtered her entire family and several others in the Dakota badlands.
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Charlie Kohler is a piano player in a bar. The waitress Lena is in love with him. One of Charlie's brother, Chico, a crook, takes refuge in the bar because he is chased by two gangsters, ... See full summary »
Spike Lee's take on the "Son of Sam" murders in New York City during the summer of 1977 centering on the residents of an Italian-American South Bronx neighborhood who live in fear and distrust of one another.
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A woman takes the law into her own hands after police ignore her pleas to arrest the man responsible for her husband's death, and finds herself not only under arrest for murder but falling in love with an officer.
Armed with a license to kill, Secret Agent James Bond sets out on his first mission as 007 and must defeat a weapons dealer in a high stakes game of poker at Casino Royale, but things are not what they seem.
Four men pull off a daring daytime robbery at a bank, dump the money in a trash can and go their separate ways. Thomas Crown, a successful, wealthy businessman pulls up in his Rolls and collects it. Vickie Anderson, an independent insurance investigator is called in to recover the huge haul. She begins to examine the people who knew enough about the bank to have pulled the robbery and discovers Crown. She begins a tight watch on his every move and begins seeing him socially. How does the planner of the perfect crime react to pressure? Written by
John Vogel <firstname.lastname@example.org>
After watching a five hour rough cut of the film, composer Michel Legrand took a six week vacation during which he wrote 90 minutes of music. The film was then reedited to the music, instead of the other way around. If this experiment had failed, Legrand would have written a second score in the traditional way free of charge. See more »
During the robbery several revolvers have silencers. A Silencer will not work on a revolver. See more »
This is a film about games: the defining image, a game of chess; and then, as well, the intellectual game that robbery provides for Crown (McQueen), and the two games, professional and sexual, in which Vicki and Crown stalk each other. For these players, games are very serious and the outcome of each uncertain.
The film is of its time, but works in ours, as well and better than the recent remake. Those looking for a fast action "heist" movie will be disappointed: this film is about alienation and attraction, trust and betrayal, about working out what matters - all those eternal themes. It will appeal to those content to focus on personal chemistry unpunctuated by regular gunfire. None the less, the planning and execution of the bank robbery is cleverly done and provides sufficient impetus to drive the rest of the straightforward plot. Crown's motivations, tedium and greed, are readily understandable; Vicki's are similar. As people they are similar and evenly matched. Vicki is stylish and beautiful and, using her sexuality as well as her intellect, she is Crown's equal or better - which is not true of the remake. In the end, it is she who defines the outcome, but what it will be and why Vicki makes the choice she does are left unresolved. So, too, we remain uncertain whether the possibility truly exists, that their alienation might be healed.
The focus is clearly on the couple. Eddy Malone's role as the police detective does not extend beyond that of a Greek chorus, providing the conventional and moral reference against which the actions of the principals are to be judged. Jack Weston's Erwin, a very worried getaway driver, simply contrasts the player of the game, Crown, with the instruments with which he plays it.
The performances of the entire cast are exemplary. McQueen's clipped manner builds the tension and intensifies the effect of his weakening to Vicki's seductive moves during the chess game. The role of Vicki is perfect for Dunaway, making no great demands on her to project herself, no extended dialogue, which she does not generally manage well; but the disposition of her body, her power of gesture, and her brief, pithy statements all work brilliantly. Jack Weston produces an excellent cameo performance that pretty well had me perspiring as much as he was. Malone plays a straight role straight, the way it should be.
The split screen title sequence and passages in the film work well; they do not distract, as this technique can, but are used to capture and compress moments of action that are significant but do not require extended treatment. The Legrand soundtrack is brilliantly effective, including the long passages of real tension, without music.
This really is a great classic, a film that will endure, and those who have difficulty with it should see it again and allow themselves the time to be seduced by its low key perfection.
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