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Prime Cut (1972)

6.8
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Ratings: 6.8/10 from 2,388 users  
Reviews: 57 user | 36 critic

A Chicago mob enforcer is sent to Kansas City to settle a debt with a cattle rancher who not only grinds his enemies into sausage, but sells women as sex slaves.

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Title: Prime Cut (1972)

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Cast

Cast overview, first billed only:
...
Nick Devlin
...
Mary Ann
Angel Tompkins ...
Clarabelle
...
Weenie
...
Poppy
Janit Baldwin ...
Violet
William Morey ...
Shay
Clint Ellison ...
Delaney
Howard Platt ...
Shaughnessy
Les Lannom ...
O'Brien
Eddie Egan ...
Jake
Therese Reinsch ...
Jake's Girl
Bob Wilson ...
Reaper Driver
Gordon Signer ...
Brockman
Gladys Watson ...
Milk Lady
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Storyline

A Chicago mob enforcer is sent to Kansas City to settle a debt with a cattle rancher who not only grinds his enemies into sausage, but sells women as sex slaves. Written by Brian J. Wright <bjwright@acs.ucalgary.ca>

Plot Summary | Add Synopsis


Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

8 September 1972 (France)  »

Also Known As:

Prime Cut  »

Filming Locations:

 »

Company Credits

Production Co:

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Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Sissy Spacek's feature film debut. See more »

Quotes

Poppy: I never knew a man before; not even to talk to.
Nick Devlin: Well where did they keep you?
Poppy: In the orphanage with the other girls.
Nick Devlin: And where was that?
Poppy: It was in Missouri. It's the only home I really remember. It was in the country.
Nick Devlin: Then you have nobody?
Poppy: Just Violet.
Nick Devlin: Who?
Poppy: Violet, the other girl that was with me. She's my sister... well, not truly but we're closer than that. Violet and me we'd climb into each other's bed when it was really cold in the winter time and hug each other really close. Sometimes we'd...
See more »

Connections

References Murders in the Rue Morgue (1971) See more »

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User Reviews

 
Prime Marvin
12 March 2005 | by (United States) – See all my reviews

In 1972, critics were so offended by the violence of this film (they were easily offended, back then), that they almost wholly missed the film's humanistic message - which is strange, because I doubt a film could state a theme more explicitly without getting didactic. If this films evades such lecturing - and it does - it is largely due to the exceptional understated performance of Lee Marvin; I didn't think anyone could wear white loafers and still look cool, but Marvin pulls it off. His utterly deadpan approach underscores his character's rapid responses to crisis situations - a truly dangerous man because no one expects him to be dangerous, he just looks cool. Michael Ritchie's direction is also noteworthy; he uses some strategies that also appear understated, thus giving the film a grittier feeling than one might expect from its MidWest locale. And there are some risky editing gambits (like the combine-car collision sequence) that, even when not totally successful, are efforts to be respected exactly for the risk undertaken. There are some drawbacks to the film - the ending (which I won't reveal) is entirely of its era, and a little embarrassing now; Gene Hackman's performance is a throwaway, when it needs to be as confrontational as Marvin's is cool; but the weakest point of the film is its sense of history: This script wanted to be a period piece set in the 1930s; the criminal underworld which these characters inhabit was a victim of the St. Valentine's Day Massacre (which put an end to the Irish mob in Chicago). To get a feel of the film that screenwriter Dillon really wanted to make, see "Road to Perdition". BUt taken on its own terms, and allowing that it is a genre film (and never pretends otherwise, really), this is a highly entertaining gangster film, with a grand performance by Lee Marvin.


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