A vicious Kansas City slaughterhouse owner and his hick family are having a bloody "beef" with the Chicago crime syndicate over profits from their joint illegal operations. Top enforcer Nick Devlin is sent to straighten things out.
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,
Major Charles Rane comes back from the war and is given a number of gifts from his hometown because he is a war hero. Some greedy thugs decide that they want to steal a number of silver ... See full summary »
Tommy Lee Jones,
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 <email@example.com>
The submachine gun used by Nick Devlin in the last part of the film is the now rare Smith & Wesson model 76, a near copy of the Swedish M/45. It was produced in very small numbers in the late 1960s, and was eventually discontinued due to lack of interest in such a weapon by military and law enforcement agencies. In US service it was largely known as the "Swedish-K" or "K-Rifle. It was used by US special service4s (like Navy SEALS and CIA operatives) during the Vietnam war. See more »
I never knew a man before; not even to talk to.
Well where did they keep you?
In the orphanage with the other girls.
And where was that?
It was in Missouri. It's the only home I really remember. It was in the country.
Then you have nobody?
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...
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Lee Marvin was the ultimate in professional torpedoes
In the Fifties, in "Violent Saturday," he made a little name as the killer who kept using a nose spray while terrorizing Sylvia Sidney and a bank When Don Siegel made the second version of Hemingway's "The Killers," he was the cool, hard gunman who knew he was being paid to do the job and would definitely do it, come hell or high water
His "Prime Cut," is a study in professionalism Before that came "Point Blank," in which again he was the unstoppable force But watch him in "Prime Cut." Notice the care with which he handles the tools of his trade, the cavalry rifle which takes to pieces and is lovingly kept in a neat executive-style case
He is a "hit man," a torpedo who can be hired by the new breed of businessman-gangster Pressured into a job against his will, he is sent to Kansas City to enforce his employer's demands for payment from another gangster-type From then on, a trail of murder, malice and killing makes the screen run red If the baddies all come to sticky ends so does at least one innocent person, whom Marvin involves as in the case of the truck-driver whose vehicle he hijacks
"Prime Cut" is a tremendously exciting film, if one disregards its moral values At the end Marvin, the paid killer who keeps the weapons of his trade in velvet-lined cases, has destroyed all the other villains yet walks off into the sunset without a hint of retribution
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