IMDb > Prime Cut (1972)
Prime Cut
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Prime Cut (1972) More at IMDbPro »

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Overview

User Rating:
6.8/10   2,507 votes »
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Director:
Writer:
Robert Dillon (written by)
Contact:
View company contact information for Prime Cut on IMDbPro.
Release Date:
8 July 1972 (Japan) See more »
Genre:
Plot:
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... See more » | Add synopsis »
Plot Keywords:
NewsDesk:
(8 articles)
User Reviews:
Pretty Neat and Chic, but Within the Confines of Cheesy Auto-Pilot Genre Conventions. See more (59 total) »

Cast

  (in credits order) (verified as complete)

Lee Marvin ... Nick Devlin

Gene Hackman ... Mary Ann
Angel Tompkins ... Clarabelle

Gregory Walcott ... Weenie

Sissy Spacek ... 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
Hugh Gillin ... Desk Clerk (as Hugh Gillin Jr.)
E. Lund ... Mrs. O'Brien
David Savage ... Ox-Eye
Craig Chapman ... Farmer Bob
Jim Taksas ... Big Jim
Wayne Savagne ... Freckle Face
rest of cast listed alphabetically:
Jerry Tracey ... Orphan Sold at Auction (uncredited)
Judy Williams ... Orphan Sold at Auction (uncredited)

Directed by
Michael Ritchie 
 
Writing credits
Robert Dillon (written by)

Produced by
Mickey Borofsky .... associate producer
Kenneth L. Evans .... executive producer
Joe Wizan .... producer
 
Original Music by
Lalo Schifrin 
 
Cinematography by
Gene Polito (director of photography)
 
Film Editing by
Carl Pingitore 
 
Casting by
Hoyt Bowers 
 
Art Direction by
Bill Malley 
 
Set Decoration by
James W. Payne  (as James Payne)
 
Makeup Department
Salli Bailey .... hairstylist (as Salley Bailey)
Ken Chase .... makeup artist
Emile LaVigne .... makeup artist
 
Production Management
David Salven .... unit production manager
Les Kimber .... unit manager (uncredited)
 
Second Unit Director or Assistant Director
Michael Daves .... assistant director
Ronald R. Grow .... second assistant director (uncredited)
 
Art Department
Alan Levine .... property master (as Allan Levine)
Terry E. Lewis .... assistant property master (as Terry Lewis)
Tom Jung .... poster artist (uncredited)
Tom Jung .... poster designer (uncredited)
Gene Lauritzen .... construction coordinator (uncredited)
 
Sound Department
Jack A. Finlay .... sound effects editor (as Jack Finlay)
Joel Moss .... dubbing mixer
Barry Thomas .... sound mixer
John Wilkinson .... sound (uncredited)
 
Special Effects by
Logan Frazee .... special effects
 
Stunts
Bob Herron .... stunts (uncredited)
John Hudkins .... stunt coordinator (uncredited)
Buddy Van Horn .... stunts (uncredited)
Ted White .... stunts (uncredited)
 
Camera and Electrical Department
Clifford Hutchison .... gaffer (as Clifford C. Hutchison)
Charles J. Renaud .... key grip (as Charles Renaud)
Orlando Suero .... still photographer
Roger Shearman .... camera operator (uncredited)
 
Costume and Wardrobe Department
Patricia Norris .... costumes
Ray Summers .... wardrobe: men
 
Editorial Department
Herb Steinore .... assistant film editor
 
Music Department
Ed Forsyth .... music supervisor (as Ed Forsythe)
 
Transportation Department
Roy Hollis .... transportation captain (uncredited)
 
Other crew
Charlsie Bryant .... script supervisor
Betty Gumm .... production assistant
Les Kimber .... location consultant
Don Record .... title designer
Dolores Harris .... secretary: Mr. Ritchie (uncredited)
Vivien Holt .... production secretary (uncredited)
Dennis Judd .... location manager (uncredited)
Elton MacPherson .... location auditor (uncredited)
Joe Thornton .... production assistant (uncredited)
 
Crew verified as complete


Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
88 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Australia:R | Australia:MA (2009) | Finland:K-18 | France:12 | Germany:16 (re-rating) (2013) | Iceland:16 | Norway:16 | Sweden:15 | UK:X (original rating) | UK:18 (video rating) (1987) | USA:R | West Germany:18 (original rating)
Filming Locations:

Did You Know?

Trivia:
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 »
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 touch each other and dream how a man's hands would feel on us...
See more »
Movie Connections:
References Murders in the Rue Morgue (1971)See more »

FAQ

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5 out of 5 people found the following review useful.
Pretty Neat and Chic, but Within the Confines of Cheesy Auto-Pilot Genre Conventions., 9 October 2009
Author: jzappa from Cincinnati, OH, United States

Prime Cut may feature charmingly gravelly Lee Marvin, always brilliant Gene Hackman and Sissy Spacek when she was young and pretty, and its plot may be a turn through an interesting alley in the gangster genre, but it is still essentially a cheesy action movie that settles everything interesting about the story with the same shootouts we've been watching since Edwin Porter dazzled us for 11 minutes in 1903. I like guys in suits from New York collecting debts as much as the next guy, just as said guy and I like guys from New York collecting debts from Confederate neanderthals, and movies from the 1970s right down to the score by Lalo Schifrin. Nonetheless, it is not very fair to be absorbed in a story like this only for director Michael Winner to sit comfortably half-facing us within the confines of auto-pilot genre conventions.

Marvin plays a two-dimensional mob enforcer from Chicago sent to Kansas to collect a debt from Hackman's intriguingly characterized meatpacking boss. Spacek debuts as a young orphan sold into prostitution. There are already scores of ways scores of writers and directors could make an instant classic out of this material. There are some fantastically effective scenes in particular, a great deal of which derive from the reason why this otherwise assembly-line dirty-ol'-basterd picture was regarded as notably risqué for its time. The opening credits sequence is a composition of cleverly discreet images depicting the beef slaughtering process, with a very discreet twist. There is a striking portrayal of sex slavery in a scene where Hackman partakes in the auctioning of young women. There is a noted chase scene involving a combine in an open field.

There are also fast-sketch expository scenes like one with Hackman and the character Weenie, his brother and right-hand man, where their day-to-day dialogue is interrupted by their sudden urge to rassle, Hackman's accountants making an effort to remain furniture no matter where the fight leads. Marvin's boss in Chicago gives him some back-up muscle in the form of a driver whose life he once saved and three other younger members of the Irish mob. There is a style here that seems to have influenced the chic male-centric palette of Guy Ritchie's thug films. There is a brief scene where one of these baby-faced enforcers makes Marvin meet his mother as they leave Chicago. It is a swift, omniscient and interesting little inference of this character before he becomes another pop-up board for the various sundry bullets he will be obligated to exchange with other pop-up men.

A shootout never hurt a great movie, and not too many good ones. But this is one that could have been one of them had it not jumped to the guns so hastily without taking a stab at working out the thematic dilemmas first. The first inclinations when dealing with such a premise would be the themes of man and nature, culture clash, North and South, and other elements that could say a lot about the dual nature leading to opposing means of taking on the same criminal enterprises. Instead, it's simply Marvin the good guy and Hackman the bad guy, and they slice through their respective thickets of underlings until they come face to face, only then addressing the superiority of man over beast with a stunning irony I can only hope was intentional. But I don't think so.

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