Earl Macklin robs a bank owned by the mob, serves his prison time and is released, only to start a private war against the crime outfit that owned the bank.



(novel) (as Richard Stark),

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Cast overview, first billed only:
Jack Cody
Jake Menner
Kimmie Cherney
Buck's Wife
Felice Orlandi ...
Frank Orlandi
Madge Coyle
Alma Macklin
Rita Mailer
Hit Man
Carl (as Elisha Cook)
Buck Cherney


When the small criminal Macklin is released from prison, he learns that his brother was shot by two mob killers. He didn't know that the bank he robbed was owned by the syndicate. When he's almost offed by a killer too, he pays the mobster Jake Menner a visit and demands reparation. His friend Cody helps him to gratify his thirst for revenge. Written by Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>

Plot Summary | Add Synopsis


Nobody plays rougher than The Outfit...


Crime | Thriller | Drama


PG | See all certifications »




Release Date:

9 February 1974 (Japan)  »

Also Known As:

A Quadrilha  »

Company Credits

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Technical Specs


Sound Mix:



Aspect Ratio:

1.85 : 1
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Did You Know?


Tony Trabert: The former #1 tennis pro as himself. See more »


A killer fires a revolver with a silencer on the barrel. The gun would still make a loud sound due to the gap between the cylinder and the barrel. See more »


Buck's Wife: [alone with Jack Cody, who's sitting on the porch of the 'hideout', while she's dressed in nothing but a see-through bathrobe] Wanna come on inside 'n have a drink?
Jack Cody: No, thank you.
Buck's Wife: You sure? We got time...
Jack Cody: No, thank you MA'AM.
Buck's Wife: ...You got a problem?
Jack Cody: [smirking] Lady, after a while... a fella learns things... Some women are trouble.
Buck's Wife: ...Suit yourself.
[Goes into the house. Pissed]
Jack Cody: ...I'll always do...
See more »


I Concentrate On You
Written by Cole Porter
Performed by Anita O'Day
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User Reviews

23 June 1999 | by (los angeles) – See all my reviews

The first hour is dazzling: Robert Duvall, a bank-heist guy screwed over by the mob, decides he wants $250,000 as recompense. And like Lee Marvin in POINT BLANK, he doesn't take no for an answer. The director, John Flynn, is one of the most underrated in crime cinema on the basis of this picture and ROLLING THUNDER alone: he takes a pretty familiar man-against-the-syndicate story and shoots it with a plainness so eloquent the movie takes on the dignity of a Shaker chair. Duvall is an extraordinarily expressive hard case, especially in his brutally unsentimental scenes with his uncertain moll (a lyrical and volcanic Karen Black). Maybe it's the Donald Westlake source novel, but all the bit parts are beautifully, almost journalistically characterized (with none of the cutesy color of Elmore Leonard). The last act detours into Quinn-Martin territory, but that's not the worst thing in the world, is it? Almost everything in this movie is just incredibly articulate: check out the scene between Robert Ryan, an aging, cock-of-the-walk, but rather insecure mob boss, and the beautiful, put-together young wife (Joanna Cassidy) whom he loves but treats like dirt. A single argument about listening to a Rams game on a car radio speaks novels about their relationship in four terse lines. Flynn could give today's neo-noir directors seminars in the beauties of haiku-like plainspokenness.

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