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Sitting Target (1972)

R | | Action, Crime, Drama | May 1972 (UK)
Imprisoned Harry Lomart is a vicious, brute of a man and yet he is prepared to do his long jail term as he is confident that on his release his beautiful wife Pat will be waiting for him, but a visit from Pat brings him his worst nightmare.

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Cast

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Tony Beckley ...
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Robert Russell ...
Joe Cahill ...
Robert Ramsey ...
Susan Shaw ...
June Brown ...
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Storyline

Escaped convicts Harry Lomart (Oliver Reed) and Birdy Williams (Ian McShane) are lying low before they prepare to skip the country. However, Lomart can't control his rage at being cheated by his wife, Pat (Jill St. John), whilst he was inside, so he decides to kill her and her secret lover before he goes. This causes all sorts of complications to their escape plans. Written by Jonathon Dabell <BC602070@pixie.ntu.ac.uk>

Plot Summary | Add Synopsis

Taglines:

The Hit Man never stops till he scores. See more »


Certificate:

R | See all certifications »
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Details

Country:

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Release Date:

May 1972 (UK)  »

Also Known As:

La celada  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Metrocolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The prison sequences were filmed in the abandoned Kilmainham Jail in Dublin, which was also used for " The Italian Job" and " Mcvicar". See more »

Quotes

Harry Lomart: You bastard! You bloody bastard!
See more »

Connections

Referenced in Lovelace (2013) See more »

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User Reviews

Spare, tense, vicious, a must.
6 December 2006 | by (Pittsburgh) – See all my reviews

Under-appreciated British crime thriller with antisocial characters and an antisocial plot: a convict finds out his wife is pregnant by another man, so he busts out of prison to hunt her down with every intention of killing her. No time wasted on "redeeming" characters. No goofy humor or chase scenes through clubs playing bad, dated music. Just a spare, tense study of two vicious men (Oliver Reed, Ian McShane) hot on the trail of a treacherous moll (Jill St. John). A nemesis detective (Edward Woodward) tries to intervene, but never fouls the nihilistic tone. Solid performances and one of Reed's best as an uber-thug who does push-ups on the ceiling of his jail cell, is sitting on a volcano, and only lets on what he has to, even to his partner. The script does the same thing, imparting information on a need-to-know basis, doing so smoothly as it races toward Hell. All in the back-lots and stygian prisons of a cold, drab London, with a musical score by Stanley Myers that perfectly enhances the story and mood. A must for fans of seventies crime thrillers, British or otherwise, that take no prisoners.


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