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The Outfit (1973)

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.

Director:

John Flynn

Writers:

Donald E. Westlake (novel) (as Richard Stark), John Flynn
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Cast

Cast overview, first billed only:
Robert Duvall ... Earl Macklin
Karen Black ... Bett Harrow
Joe Don Baker ... Jack Cody
Robert Ryan ... Mailer
Timothy Carey ... Jake Menner
Richard Jaeckel ... Kimmie Cherney
Sheree North ... Buck's Wife
Felice Orlandi ... Frank Orlandi
Marie Windsor ... Madge Coyle
Jane Greer ... Alma Macklin
Henry Jones ... Doctor
Joanna Cassidy ... Rita Mailer
Tom Reese ... Hit Man
Elisha Cook Jr. ... Carl (as Elisha Cook)
Bill McKinney ... Buck Cherney
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Storyline

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

Taglines:

Nobody plays rougher than The Outfit...

Genres:

Crime | Thriller | Drama

Certificate:

PG | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

9 February 1974 (Japan) See more »

Also Known As:

A Quadrilha See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Metrocolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The amount of money that Earl Macklin (Robert Duvall) demanded in compensation from "The Outfit" was two hundred fifty thousand dollars. See more »

Goofs

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 »

Quotes

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 »

Connections

References The Killers (1946) See more »

Soundtracks

Your Guess Is Just As Good As Mine
Written by Steve Gillette and Jeremy Joe Kronsberg
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User Reviews

POINT BLANK in the style of STRAIGHT TIME
23 June 1999 | by matt-201See 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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