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Point Blank (1967)

After being double-crossed and left for dead, a mysterious man named Walker single-mindedly tries to retrieve the money that was stolen from him.

Director:

John Boorman

Writers:

Alexander Jacobs (screenplay), David Newhouse (screenplay) | 2 more credits »
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Cast

Cast overview, first billed only:
Lee Marvin ... Walker
Angie Dickinson ... Chris
Keenan Wynn ... Yost
Carroll O'Connor ... Brewster
Lloyd Bochner ... Frederick Carter
Michael Strong ... Stegman
John Vernon ... Mal Reese
Sharon Acker ... Lynne
James Sikking ... Hired Gun
Sandra Warner Sandra Warner ... Waitress
Roberta Haynes Roberta Haynes ... Mrs. Carter
Kathleen Freeman ... First Citizen
Victor Creatore Victor Creatore ... Carter's Man
Lawrence Hauben Lawrence Hauben ... Car Salesman
Susan Holloway Susan Holloway ... Girl Customer
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Storyline

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 garykmcd

Plot Summary | Plot Synopsis

Taglines:

He thrived on two kinds of people...his victims and his women! See more »

Genres:

Crime | Thriller

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

10 February 1968 (Japan) See more »

Also Known As:

A quemarropa See more »

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Box Office

Budget:

$3,000,000 (estimated)
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Metrocolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

As of 2018, Brewster's house in the Hollywood Hills still stands, basically unchanged. It was built in 1957 with over 7,700 square feet on 1.25 acres and is valued at nearly $9,000,000. See more »

Goofs

When Walker goes to turn on the bedside lamp in Chris' darkened bedroom, the "outside" lights go off out of order and the "inside" lights come up before the lamp's bulb comes on. See more »

Quotes

[first lines]
Walker: Cell. Prison Cell. How did I get here?
See more »

Connections

Featured in Los Angeles Plays Itself (2003) See more »

Soundtracks

Mighty Good Times
by Stu Gardner
sung by The Stu Gardner Trio
See more »

Frequently Asked Questions

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User Reviews

"I want my $93,000!"
9 February 2007 | by Camera-ObscuraSee all my reviews

Love it, great film.

For one thing, POINT BLANK, directed by British director John Boorman, has all the good looks of the various movements of the European New Wave, but walks the walk and talks the talk of an American thriller, and I mean that as a good thing. Boorman's brilliantly composed combination of European artfulness with film-noir elements make for an exceptionally rich and multi-layered crime thriller.

Lee Marvin, in typically emotionless fashion, is the remorseless Walker who, after pulling off a successful heist from the mob, is double-crossed, shot and left for dead in the now abandoned Alcatraz prison by his wife (Sharon Acker) and his partner-in-crime (John Vernon). Walker survives, escapes and moves to LA, where he kills his way up the ladder of a vaguely defined organized crime syndicate called "The Organization", hardly distinguishable from a legitimate cooperate business, in order to get his $93,000, occasionally aided by his sister, Chris (a great Angie Dickinson), who seems to know Walker's targets pretty well.

Philip Wisethrop's widescreen compositions are absolutely stunning. One of the most impressive scenes is when Walker is fighting two hoods in a nightclub, against a swirling psychedelic backdrop, to the strains of the R&B houseband, with its black singer hysterically shouting letting the mostly white clientèle shout with him in his microphone. But every scene is a marvel to watch, with every detail painstakingly composed without getting stiff or forced in any way. Even the car windows are almost unrealistically spotless, in order to film Walker through the glass with the reflections of the city on his face.

The film is packed with all kinds of surreal surroundings and lots of flashbacks concerning Walker's past. Boorman's games with narrative time, with extensive use of echoing flashbacks and jump-cuts, are the perfect reflection of Walker's dream-like struggle for justice, He's the typical tragic (noir)-hero, in a perpetual struggle to grasp what happened to him. He desperately tries to comprehend the situation he's in, but hasn't got a clue who's who and his outdated moral codes make him seem an even bigger anomaly in the modern corporate world he works his way into.

Whether this is all actually happening or it's all a mind-spin inside Walker's head is impossible to say. Best to enjoy the ride in this true genre classic, definitely one of the best American thrillers of the '60s. If you get the chance, watch it together with Melville's LE SAMOURAI (1967) and Seijun Suzuki's BRANDED TO KILL (1967), in many ways its French and Japanese counterparts.

Camera Obscura --- 9/10


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