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Peckinpah's 1975 thriller is infuriatingly uneven. It is also one of his
most interesting films, throwing the director's preoccupations into relief.
It was made between the gothic thriller Bring Me The Head Of Alfredo Garcia
(1974), and his last great film, Cross Of Iron (1977). As the critic Pauline
Kael noted, it was a way of proving himself alive to the Hollywood
establishment, a "transparent disguise for... determination to show
Hollywood that he's not dead yet... that, despite the tabloid views of him,
frail and falling down drunk, he's got the will to make great movies." It's
no accident that this is a film in which the director stresses his auteurism
with more than the usual self-consciousness (the words 'directed by' and
'Sam Peckinpah' are separated by an emphatic crosscut in the opening
credits). Neither that it is one in which the theme of rehabilitation or,
more specifically, recuperation - dominates the dramatic matter in hand,
giving the narrative a lopsidedness from which it never really recovers.
Kung Fu plot notwithstanding, at the centre of The Killer Elite is the relationship between Locken (James Caan) and Hansen (Robert Duvall). The shifting balance between two men, who find themselves on opposite sides of the law, recall similar relationships in Ride The High Country (1962), between Steve Judd and Gil Westrum, or in The Wild Bunch (1969), between Pike Bishop and Deke Thornton. "I can't figure why he didn't put the third one in my head," says Locken, brooding in hospital. "He's your buddy," is the characteristic reply. Locken and Hansen may travel further apart than the other examples of broken camaraderie in Peckinpah's work, but their mutual respect remains intact to the end. In the shoot out at the darkened quay, despite his thirst for revenge, Locken walks away from his former partner in disgust and he's not responsible for the final bullet.
The relationship between the two men is what focuses Locken's life and gives his actions perspective. Once his buddy is dead, his character loses all motivation, and then the movie its soul. What's left is a ramshackle kung fu killer plot, which any competent straight-to-video producer could have scribbled down on the back of an envelope. Peckinpah's other films frequently end when the central partnership was irrevocably dissolved. For all of its martial pyrotechnics, The Killer Elite just goes on too long.
The most successful part of the film is contained within the opening third. The first operation, Hansen's initial betrayal (which occurs in a world of surveillance that anticipates The Osterman Weekend, 1983), and the mechanics of Locken's physical reconstruction are, by turn, engrossing. It's a time of development and learning for Locken. From the casual sex of the opening the injured agent has to adjust, restrain his bitterness ("I'll just limp out of here"), and establishes a more permanent relationship with his nurse while on the mend. From embracing a broad, Locken ends up clutching a bedpan, then grasps at any chance to re-establish himself as whole. Peckinpah found delineating the mending processes so engrossing that the belated introduction of Negato Toku (Tak Kubota) as "Godfather of all the ninja assassins," and then Locken's fortuitous assignment to protect Yuen Cheung (Mako) against death within the USA are like dramatic afterthoughts, tellingly summarised in conversation over the airport fight.
These airport scenes, however expertly cut together by the director, are perhaps amongst the most gratuitous scenes of violence in his oeuvre. The fighting is dwelt on purely as a means to patch over a glaring narrative fault line, carrying along some clumsy verbal exposition. It has none of the catharsis, or brutal poetry, familiar from the director's other films. Locken's recuperation has proved a distraction. After his hospital a scene, the belated 'catching up' scene feels at best rushed, at worst intrusive. Worse, we sense Peckinpah is just not as emotionally engaged with martial arts as he is with the matter of the Old West. (A feeling underlined when Locken watches the final ninja swordfight with calculated disinterest, calmly betting on the result.) An obvious sop to those fans who wanted more of the action exemplified in Clouse's Enter The Dragon of two years previously, the kung fu in Peckinpah's film is vigorous, filmed with style, but remains peculiarly unconvincing. Strip away the martial arts and what remains is far more interesting and consistent with Peckinpah's personal philosophy. As in his other films there is a theme running through The Killer Elite, one of honour and the inexorable passing of the old ways. One thinks of the mothballed fleet the scene of the final confrontation, a veritable graveyard of former pride and glory. "You've just been retired Mike, enjoy it," says Hansen after crippling Locken. "You just retired, Cap," echoes Locken in irony, when addressing his traitorous superior at the end. In The Killer Elite, a new order is recognised: that of power systems, none of which care about civilians, or integrity - a recognition enunciated rather surprisingly by the shambling Miller (a scruffy Bo Hopkins). Cap Collins (Arthur Hill) had earlier put these changes more succinctly: "Would you believe that heroism has become old fashioned?" So half-baked and ludicrous is the action plot that much of the film's other pleasure comes from incidentals. The initial friendship between Locken and Hansen for instance, or Miller's girlfriend calling everyone 'Mr Davies'; the editing of the explosive opening sequence; or the bomb-under-the-car scene, ending with the distant explosion (pure comic 'business' rare in Peckinpah); Caan's sensitive performance. Allied to this is Jerry Fielding's score, an outstanding contribution from a composer who worked with the director on several occasions, as well as the acting in support from Peckinpah regulars like Hopkins. In short, The Killer Elite is something of curate's egg, only good in parts but, with all its unsatisfactory elements, still essential viewing for admirers of this director.
I'm a huge fan of Sam Peckinpah's movies and I'm trying to write a comment
about them all. However, this is one of the few that I'm less enthusiastic
about, simply because it is not up to the high standard usually associated
with the director (perhaps the studio tampering is partly to blame for
It's a spy flick about a not-very-nice unit of the CIA which tackles all the dirty, gritty jobs that nobody else wants. James Caan and Robert Duvall are in the organisation and are great friends, until Duvall accepts a bribe and tries to blow Caan's head off during an assignment. The rest of the movie follows Caan as he rehabilitates from the injury and sets about gaining his revenge.
The theme of honesty among savages made The Wild Bunch compelling, but here it is used to lesser effect. Peckinpah himself was a disgraced figure in Hollywood with his drug and drink problems at the time that this movie was made, and you often feel that he made it purely to keep working during such a difficult period. There's certainly a shortage of passion and belief in the material.
The best thing about the film is Duvall, but he disappears early and doesn't come back into it until near the end (and then only briefly). It also contains some good martial arts moments, although strictly speaking it is not a martial arts film. Other than that, it is definitely a low point in the Sam Peckinpah canon, and can only be recommended to those who are keen to watch all the director's movies rather than just the best ones.
I have a friend who likes action films, but is not familiar with action films of the 70s. Every time I bring over a 70s flick, like this one, she complains that it's too slow and boring. I tell her that it's because there is a plot and character development that modern action films lack. She doesn't care about that, she just wants to see the action scenes and the violence. This is pretty typical of those who are hooked into music videos and video games that have no plot, no character development, are finished quickly, and exist only for immediate gratification of the need for an adrenaline rush, like one minute carnival rides. If this is what you like, you won't like this film. But if you enjoy good character and story development, you won't be disappointed.
Entertaining and fairly gritty look at the real life undercover spooks who
do the CIA's dirty work or sometimes are bought by the highest bidder.
Contains some parallels to Peckinpah's greatest film THE WILD BUNCH in that it explores themes of obsolescence, integrity, loyalty, and friendship. Caan and Duvall are at the top of their game and supporting actors Burt Young, Bo Hopkins, and Gig Young lend credibility as guys who are willing to play the dirty game.
Jerry Fielding score as in THE WILD BUNCH is superb. 4 out of 5 stars
To all the long-faced dimwits bemoaning the decidedly uncontentious tone of this picture, I've three words: Get a life! First off, the "The Killer Elite" is a rip-roaring gasser about the most offbeat assassins to ever walk the earth. Burt Young versus ninjas? James Caan and Robert Duvall serenading CIA safe houses? Where do I sign? Maybe some also bellow on about how watered-down "The Killer Elite" is amongst the Peckinpah pantheon, but I put this to you: how many "PG"-rated pictures include defectors getting their brains blown out, as sanguine life sprays the walls? Not many. Third off, the nihilistic corporate pecking order as portrayed in the film sums up the old "Alfredo Garcia" "no heroes" mentality quite nicely. Mako and Gig "Fred C. Dobbs" Young are there to party, Caan, Duvall, and Young seem to be having the time of their lives, so what are we waiting for? "Let's go bananas."
I have been trying to find 'The Killer Elite' for quite some time. Directed by the legendary Sam Peckinpah in between two of his best and most underrated movies ('Bring Me The Head Of Alfredo Garcia' and 'Cross Of Iron'), and re-teaming James Caan and Robert Duvall, co-stars of 'The Godfather', I was sure that this was going to be one of those great lost 70s gems like 'Rolling Thunder' or 'The Yakuza'. Sadly, it isn't. Now I know Peckinpah often suffered studio interference and rarely got to get a movie on screen with his vision uncompromised, so I can only assume this is the case here. Caan, who is always watchable no matter what he is in, plays a CIA operative who is betrayed by his partner, Duvall (who only has a small supporting role to be honest). Wounded and written off by his bosses, he is manipulated into guarding an Asian politician (Mako, best known for the 'Conan' films) who Duvall is trying to assassinate. Caan and his hand-picked team (Peckinpah regular Bo Hopkins, and Burt Young of 'Rocky' fame) carry out there task in good faith until it becomes increasingly obvious that they are being used. Peckinpah deals with his frequent themes of loyalty and honour, and there is some characteristic bloody action sequences, but frankly the script leaves a lot to be desired, the plot sometimes wanders off track, and some golden opportunities are missed. 'The Killer Elite' reeks of compromise and therefore fails to completely satisfy. But hey, even neutered Peckinpah is still Peckinpah, and just about everything he directed wipes the floor with most of Hollywood's current lame output, so I still say give this one a try. For all its flaws it still stars James Caan, one of the most underrated actors of his generation, and even that in itself is enough to keep me watching.
I consider Peckinpah one of the big five--- Kubrick. Scorsese. Walter Hill. Eastwood.--- I've seen all his films numerous times, and this one along with Garcia stands up the best to multiple viewings. It plays like a great old album. These negative comments I've read about this flick are cuuckie talk. Every spy movie since has lifted something from this movie, as a matter of fact every action flick. Great cast, and peckinpah's wonderful laid back style are the highlights. It may seem old hat now, but try erasing the last 30 years of wannabees. Great Movie!!!
The problem with "The Killer Elite" is that just by seeking this film
out, and investing time to watch it, you are putting more effort into
the experience than many of its principals did, particularly director
The already volatile Peckinpah was heading into rough weather with this film. According to at least one biographer, this was where he became acquainted with cocaine. Add to that his binge drinking, and it's no wonder things fell apart.
It's a shame, because the concept behind the film is a good one, and the first ten minutes promise much. Mike Locken (James Caan) and George Hansen (Robert Duvall) are private contractors who do a lot of dirty work for the CIA. They move quick, live well, and seem like the best of friends - then something happens to shatter their brotherhood.
An opening scene shows them blowing up a building - why exactly we aren't told, par for the course in terms of this film's murky motivation. But the implication is these guys hurt people and don't really care - antiheroes much like the Wild Bunch of Peckinpah's not-so-long-ago. An opening title tells us they work for ComTeg, then adds with obvious tongue in cheek "...the thought the CIA might employ such an organization for any purpose is, of course, preposterous." That's a pretty clever way of letting the audience know all bets are off.
Add to that a traditionally strong Peckinpah backup cast, including Burt Young, Gig Young, and Peckinpah regular Bo Hopkins in the plum role of a madman who can't pass up an opportunity to be shot at for $500 a day, and you only wish that the scriptwriters, including the celebrated Sterling Silliphant, tried to do something more with the story than turn it into a platform for lazy one-liners and bad chop-socky knockoffs. An attempt at injecting a dose of liberal social commentary is awkwardly shoehorned in. "You're so busy doing their dirty work, you can't tell who the bad guys are," someone tells Locken, as if either he or we need it pointed out.
Worse still are Peckinpah's clumsy direction and sluggish pacing. We're 40 minutes into the film before we get our first battle scene, a completely chaotic collection of random shots where a bunch of people we haven't even met before are seen fighting at San Francisco Airport, their battle intercut with a conversation in an office suite.
By the end of the film, what's left of the cast is having a battle inside a fleet of mothballed Victory Ships, ninjas running out in the open to be gunned down while Caan tosses off one liners that undercut any hint of real suspense. "Lay me seven-to-five, I'll take the little guy," he wisecracks just before a climatic samurai duel between two ninja warriors - from China, which we all know is the land of the Ninja. (The battle takes place in San Francisco, but surprisingly no Mounties arrive to break things up.)
Caan is much better in smaller scenes, like when Locken, recovering from some nasty injuries, is told by one of his bosses, played by a smooth Arthur Hill, that he's been "Humpty-dumped" by the organization. Caan refuses to stay down, and his recovery scenes, though momentum-killing for the movie, feature fine acting from him and Amy Heflin, Van's daughter, as a supportive nurse. Caan was one of the 1970s' best actors, and his laconic byplay with Heflin, Duvall, Hopkins, and both Youngs give "Killer Elite" real watchability.
But you don't watch "Killer Elite" thinking about that. You watch it thinking of the film that got away.
By the mid-1970s, the career of director Sam Peckinpah had basically
hit the skids. He had seen one more film of his (PAT GARRETT AND BILLY
THE KID) butchered by a studio (MGM) in 1973; then, in 1974, his most
overtly personal film, the admittedly ghoulish-sounding BRING ME THE
HEAD OF ALFREDO GARCIA, was roundly trashed by audiences and critics
alike. And on top of that, the excesses that had been plaguing him on
and off for years were starting to dominate his life. Yet through all
of this, he somehow managed to pull off the good when he was sober. A
case in point was the action thriller THE KILLER ELITE, released near
the end of 1975.
In this film, James Caan portrays an employee for a CIA-sponsored offshoot group called ComTeg (Communications Integrity) who, in protecting a German political figure (Helmut Dantine), is maliciously wounded by his partner (Robert Duvall) in the leg and arm. Though his superiors in ComTeg (Arthur Hill; Gig Young) tell him that those injuries are so severe that he may never be able to walk fully again, Caan vows to get back into the game, exposing himself to strenuous rehabilitation and martial arts exercises. When Hill gives him the chance, via protecting a Japanese politician (Mako) until he can be gotten out of the country, Caan immediately grabs onto it, especially with the fringe benefit of knowing Duvall has resurfaced and is gunning for Mako on his own. The whole operation turns out to be part of an internecine battle of wills inside ComTeg between their two superiors, first resulting in a fatal confrontation at the Bethlehem Steel shipyard, and then a high-energy showdown aboard a mothballed World War II vessel in Suisun Bay involving Japanese kung-fu masters.
It is easy to simply dismiss THE KILLER ELITE (which, however, shouldn't be confused with the similarly-titled, but unrelated and much more violent, 2011 film of the same name) as lesser Peckinpah, but he should still be given credit for having taken a strictly commercial property (much like his big 1972 hit THE GETAWAY), and turning it into a solid action film with some bursts of sardonic humor, plus points being made about the dirty business of the CIA at a time when the agency was being battered in the press for its foreign shenanigans and domestic spying, plus its role in covering up Watergate. He would return to this theme in his last film, 1983's THE OSTERMAN WEEKEND.
Under Peckinpah's direction, both Caan and Duvall, who had appeared together before in THE GODFATHER, do solid work as the two friends set up against one another; and Hill and Gig Young (the latter of whom made for a dispassionate killer in ALFREDO GARCIA) are equally good in their bureaucratic roles. Burt Young and Bo Hopkins do good solid turns as Caan's two partners in the protection of Mako's ambitious Oriental political figure. As is typical with Peckinpah, the action scenes are shot and edited in that characteristic Peckinpah style; and the on-location cinematography by Philip Lathrop, whose credits include 1965's THE CINCINNATI KID (from which Peckinpah was unceremoniously fired), is also superb. And finally, Jerry Fielding, working with Peckinpah one final time, comes up with another iconoclastic music score that combines jazz, dissonance, and Far Eastern music elements.
The end result may not have been "classic Peckinpah" (it is certainly less bloody than THE WILD BUNCH, STRAW DOGS, or ALFREDO GARCIA), but THE KILLER ELITE is still far superior to most of the ultra-violent action flicks that would follow in Peckinpah's wake.
Here's a Peckinpah movie that starts out really good but falls apart in
the last third. It's a story about high-level contract killers and
mercenaries hired out in secret by the CIA. The story investigates the
friendship between Mike Locken (James Caan) and George Hansen (Robert
Duvall), two of the high-class mercenaries working to protect VIPs and
radical international diplomats.
The early character development is good, the dialog and accents are all pretty enjoyable on the ears, the camaraderie between the mercenaries is fun to watch (you don't see chemistry like this in action movies anymore!) and the action scenes -- as expected of Peckinpah -- are intense and well thought-out.
There is a considerable amount of hand-to-hand combat on display here. Some of the dojo scenes with Karate/Judo stuff are not bad, but not totally amazing either. It's cool that Peckinpah wanted to include this stuff, but why would high level secret operatives train in Gendai (modern, sportified, public, organized) Japanese martial arts? I thought that was pretty hokey.
And then we have the real problem: later in the film the bad guys are a bunch of ninjas. Ninjas, huh? I understand that the movie is kinda tongue-in-cheek and is about unrealistically tough contract killers and so forth, but the cheesy ninja costumes and the poorly choreographed fight scenes with them (not to mention the abstract and borderline offensive duel regarding "honor") instantly date this movie and make it something of a novelty.
Peckinpah had serious substance abuse problems at this point and maybe that's what causes the weird pacing. Had this movie been shorter and ended at the end of the second third with a more concise message, it would've been pretty solid. It also could've developed some of the supporting characters more than it did.
Still, there are some pretty good things to be found here. Really good action scenes, some memorable characters and dialog, and some decent commentary on corrupt power-players who run politics and business. It's just too bad everyone involved seems to be on autopilot.
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