A federal agent whose daughter dies of a heroin overdose is determined to destroy the drug ring that supplied her. He recruits various people whose lives have been torn apart by the drug ... See full summary »

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Cast

Cast overview, first billed only:
...
Nick Allen
...
Mike Willmer
Paul Hampton ...
Barry Strong
Gwen Welles ...
Sherry Nielson
Warren J. Kemmerling ...
Dutch Schiller (as Warren Kemmerling)
Janet Brandt ...
Ida
...
Herman
Zooey Hall ...
Carlin (as David Hall)
Todd Martin ...
Crosby
...
The Director
Jenny Astruc ...
Madame Frelou
Yves Barsacq ...
Romain
Jean-Claude Bercq ...
Jean-Baptiste
Henri Cogan ...
Bornou
Pierre Collet ...
Zero
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Storyline

A federal agent whose daughter dies of a heroin overdose is determined to destroy the drug ring that supplied her. He recruits various people whose lives have been torn apart by the drug trade and trains them. Then they all leave for France to track down and destroy the ring. Written by frankfob2@yahoo.com

Plot Summary | Add Synopsis

Taglines:

To pull off a job no one would ever dare, you need a team no one would ever believe.

Genres:

Action | Drama

Certificate:

R | See all certifications »
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Details

Country:

Language:

Release Date:

1 February 1975 (Japan)  »

Also Known As:

9 drab i Marseille  »

Filming Locations:

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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

There is also product placement for Kentucky Fried Chicken and J&B Scotch whiskey. See more »

Goofs

When the two hit-men chase Billy Dee to a racetrack, they corner him in a trailer home. During a shootout, Billy Dee escapes in a 70s model Ford or Chevrolet van, however the soundtrack of the van's motor is of a Volkswagen vehicle (Beetle or Van) with standard transmission. See more »

Connections

References The Godfather (1972) See more »

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User Reviews

 
Biily Dee Williams organizes an assassination squad against drug kingpins
20 January 2015 | by (United States) – See all my reviews

Although "Hit!" is a long movie with most of the action in the last reel or two, it is not a boring movie. We are treated to quite an assortment of characters, but it's really the screen presence of Billy Dee Williams that holds this together. He exudes a fiery determination to avenge the death of his daughter from drugs. Williams can act up a storm and do it without histrionics. His face and eyes show his feelings, and that's the mark of a professional actor. By turns, he is tough, charming, cruel, icy, vengeful, a real hard-nose, sadistic, and suave. He gets good support throughout. Richard Pryor is always Richard Pryor, but it does not matter because his characters fit. Warren J. Kemmerling is a professional on the team; he does surveillance in Marseilles. Gwen Welles is an addict and call girl that Williams is not above manipulating for his own ends. Welles creates a character out of her part. Janet Brandt and Sid Melton are a couple who lost a son to drugs and who have some violence of their own in their murky past. They come on board. Then there's a sharpshooter, Paul Hamilton.

The story is simple. Williams has lost a daughter to drugs and vows to kill the kingpins of the drug trade in Marseilles. He organizes a team of mostly ordinary people, each of whom has something strongly against drugs, persuades them to participate in assassinations, and trains them. Interspersed through this, we meet the 9 top dogs in Marseilles who are living high off the hog. To add relish to the mix, there are two vicious cops or government men in trench coats that are trying to stop Williams and his crew.

Despite its length, the story leaves out details. It doesn't go out of its way to be suspenseful. The movie gets over more on the basis of the novelty of its oddball characters and situations. It's not "Topkapi" but we're in that ballpark.

The story is really at heart a revenge story done as a caper movie. It is not a black exploitation type of film. It just happens to have two black actors in the lead and to have been made in 1973, which would allow riding the black exploitation cycle. It more reminds one of French Connection II.

If we think about the obsession of the Williams character, how he manipulates people into his team and holds them there, and what they do as assassins, the film takes on a dark hue. It resembles other such films like "Death Wish" and "Dirty Harry" in which the system of policing and justice has failed, and ordinary people take matters into their own hands. Then Hit! takes its place as 70s-style noir. It lacks the cinematic darkness in use of color and lighting, but it has the brooding presence of Williams.

The premise of the story is, of course, ridiculous. The drug trade is driven by demand, not supply. No amount of killing of the kingpins will stop it. New faces will always take their places. No amount of interdiction of drugs will stop it either. There will always be new sources of supply, new trade routes and new methods of corrupting police.


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