During World War II, an American pilot and a marooned Japanese navy captain are deserted on a small uninhabited island in the Pacific Ocean. There, they must cease their hostility and cooperate if they want to survive, but will they?
Los Angeles private investigator Harry Moseby is hired by a client to find her runaway teenage daughter. Moseby tracks the daughter down, only to stumble upon something much more intriguing and sinister.
A vicious Kansas City slaughterhouse owner and his hick family are having a bloody "beef" with the Chicago crime syndicate over profits from their joint illegal operations. Top enforcer Nick Devlin is sent to straighten things out.
Intent on seeing the Cahulawassee River before it's dammed and turned into a lake, outdoor fanatic Lewis Medlock takes his friends on a canoeing trip they'll never forget into the dangerous American back-country.
Mal Reese is in a real bind - owing a good deal of money to his organized crime bosses - and gets his friend Walker to join him in a heist. It goes off without a hitch but when Reese realizes the take isn't as large as he had hoped, he kills Walker - or so he thinks. Some time later, Walker decides the time has come get his share of the money and starts with his ex-wife Lynne who took up with Reese after the shooting. That leads him on a trail - to his wife's sister Chris, to Reese himself, then onto Big Stegmam, then Frederick Carter and on and up the line of gangsters all in an effort to get money from people who simply won't acknowledge that he's owed anything.Written by
The car Walker takes Stegman for a ride in is a 1967 Imperial Crown convertible. This was Chrysler's luxury brand at the time, much as Lincoln is to Ford. Only 577 of these cars were made. See more »
When Walker has a flashback about shooting up the bed, it's painfully obvious Lee Marvin simulates the recoil of the gun before it fires. Also obvious is the use of a wind machine for this slow-motion scene. See more »
Cell. Prison Cell. How did I get here?
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Point Blank contains inspiring visuals, a haunting soundtrack and some stunning acting. Fabulous, groundbreaking cinema.
In the wake of his Cannes Best Director award for The General, Boorman's stunning debut has been released with a new print. Unrelentingly downbeat, this stylish crime thriller made in 1967 seems to have fuelled virtually Elmore Leonard novel.
Steely, panther-like hitman Walker (marvellous Marvin) has been fitted up, shot at and had $93,0000 stolen from him all because of ex-pal Mal Reese (John Vernon). A tad upset he decides to resurrects himself, with the help of the shadowy Yost (Keenan Wynn) for revenge and his payment.
Boorman greets us with a five-minute sequence that is crammed with curious camera angles, fractured time-lines and carefully constructed compositions. We're bombarded by a montage of piercingly violent images blended together with fragments of a failed heist on Alcatraz Island and a pair of slugs ripping into Walker's body. We're only privy to these flash snippets of information, but they're still enough to help us empathise with Marvin's masterly obsessive.
A year or two later Walker is on a tourist boat trip to Alcatraz, being propositioned by Yost. The creepy Yost knows where Mal and his Walker ex-wife Lynne (Sharon Acker) are and is willing to reveal this to him, just as long as he receives some information on a shadowy body called "The Organisation". Walker simply nods. His dialogue is minimal, his obsession is reflected through his curt questions, his sudden movements, his eyes and the flashbacks that haunt him.
When he catches up with his cheating ex-wife he allows her to talk uninterrupted in a desperate, forlorn monotone - "He's gone. Cold. Moved out," she says. Walker barely takes it in, all that motivates him is the thought, "Somebody's gotta to pay."
While others flounder, Marvin appears impenetrable like one of Sergio Leone's cowboys. Only Clint Eastwood never conveyed this much emotion in his movements.
Boorman's seminal film preceded the spate of fabulous paranoia flicks that enriched 70s American cinema The Conversation, The Parallax View, All The President's Men where a shadowy "Organisation" pulls the nation's strings. Tarantino has since appropriated this organisation theme on a small-time level, plagarising the black suits and the unwavering professionalism of the violence. De Niro's ex-con in Jackie Brown is based on Marvin's Walker, as are countless other performances.
Even Angie Dickinson, playing Lynne's sister Chris, leaves him cold. In a remarkable scene she resorts to repeatedly slamming Walker's immovable slab of a chest. He remains impregnable, emotionally void. She keeps on punching until she finally collapses on the floor in a heap. They finally make love, only for the isolation, the loss of identity, to continue. Is he an avenging angel? Is he there at all?
"Hey, what's my last name?" asks a post-coital Chris. "What's my first name?" he deadpans, answering a question with another question. Always seeking answers, never providing them. No love left in him, only a need for payment.
Point Blank contains inspiring visuals, a haunting soundtrack and some stunning acting. Fabulous, groundbreaking cinema. --Ben Walsh
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