An idealistic rookie cop joins the LAPD to make ends meet while finishing law school, and is indoctrinated by a seasoned veteran. As time goes on, he loses his ambitions and family as police work becomes his entire life.
George C. Scott,
A former getaway driver from Chicago (George C. Scott) has retired to a peaceful life in a Portuguese fishing village. He is asked to pull off one last job, involving driving a dangerous crook and his girl-friend to France. However, the job turns out to be a double-cross and the trio are pursued back to Portugal where they make one last stand on the coast while the enemy assassins attempt to gun them down. Written by
Jonathon Dabell <J.D.@pixie.ntu.ac.uk>
The trailer for the film includes a rare, candid and lengthy interview with Scott, who talked about his career up to this point, as well as explaining his reaction to winning the Oscar for "Patton". This has been shown on TCM. See more »
Tony Musante's hair goes from short to long several times during the film. This is because he keeps taking of the curly wig he is supposed to be wearing as a disguise. See more »
[Harry has just handed Monique an envelope full of cash]
Is it stolen? Is that why you gave it to me?
No. It's just that it's real money. It's not bank money. If you were to very look closely under the picture of Benjamin Franklin, you would see that it said, "This proves Harry Garmes is still alive." And if it should happen to prove otherwise, consider it yours.
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A splendid film for those with a taste for existentialism
Other viewers' comments, both negative and positive, have aptly classified this film's genre. Those with inclination toward existentialist thought (e.g., why are we here and what are the best options before embracing the void?) generally like it. I think the film great and wish it were available on DVD. Others find it vapid. Yet I think the theme similar to that found in Blade Runner or Pierrot le Fou - though different from, say, Kafka's Metamophosis, or The Trial, or from Camus' The Stranger, etc., in that this film's protagonist undergoes emotional development - along with another character who fears her fate and sees no other path to follow.
Our protagonist's past life as an underworld character is significant not in the cops-and-robbers sense, but rather as an earmark of his "loner" personality - like Camus' Stranger. He's a retired individualist - like Blade Runner's Deckard - who after a career on the "outside" is sucked against his will into a melee of action and intrigue. All he'd longed for was to finish out his days in peace - in Portugal - though one can wonder if his automotive hobby (his surrogate child) and petty daily ritual could really have sustained him - yet such is the trap some see themselves born into; perhaps an earlier, unexpected coup de grace isn't to be under-appreciated.
15 of 23 people found this review helpful.
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