Category Archives: Prison Flicks

There Was a Crooked Man…(1970)

there was a crooked man 2

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Money in snake pit.

Paris Pittman (Kirk Douglas) is a rugged bandit who at times can be quite charming, but also cunning and ruthless. When he gets sent to an escape-proof Arizona prison he becomes determined to find a way out while using the skills of his fellow prisoners, who he has all promised will get a share of some stolen loot that he has hidden in the desert, to help him do it. Woodward Lopeman (Henry Fonda) is the prison’s new warden. He’s on to Paris’s manipulative ways and becomes equally determined to stop him from escaping while also subtly attempting to reform him.

During the social/sexual revolution of the late ‘60’s many film genres took on society’s new attitudes while also taking full advantage of the new found freedoms by showing things that had previously been taboo. Comedies, dramas, action films and even sci-fi movies were suddenly breaking new ground, but the western for the most part remained entrenched with the old-school values at least until the ‘70’s, but this film is one of the early entries into what became known as the revisionist western where age-old dramatic trappings where suddenly given a whole new spin and the caricatures of good and evil became much murkier.

Here the ‘good guy’ is to some extent the bandit who works outside of the system while seeing all the hypocrisies from those still working within it. The people getting robbed are no longer ‘God-fearing’ innocent town folk, but instead the greedy establishment who enslave blacks and use the façade of religion for their own self-interests.  Woman are no longer virginal maidens waiting to be properly married, but instead sexually oppressed young ladies eager to pursue their horny desires behind their parents back if they can get away with it. Those that still remain loyal to the old ways of doing things such as with Fonda’s character are now seen as being out-of-touch and unreasonably rigid to an inflexible, dated system.

Watching the western genre suddenly ‘grow-up’ as it where and show things that only a few years earlier would’ve been unthinkable is a lot of fun and the script meshes in a good amount of snarky humor, which keeps things consistently lively and comical. Even the music score gets a new slant. Typically music themes in westerns had a booming, orchestral sound, but here it’s much jazzier and modern.

Douglas is engaging and makes a great adversary to Fonda. Fonda, who just a year earlier shocked filmed audiences with his brilliantly creepy portrayal of a psychotic gunman in Once Upon a Time in the West goes back to his old form as the stoic good guy and does it quite well although I was confused why he is seen in the first half walking with a limp and a cane due to being shot only to go without it and walk normally during the second half.

The support cast, all men in their 50’s and 60’s and seen for years in the old fashioned westerns, but now clearly relishing the chance to be bawdy and irreverent are in fine form as well. Burgess Meredith is quite funny as an old codger who has worn the same underwear for 35 years and refuses to take it off even for a bath. Hume Cronyn lends equally good support and I loved the scene where he adds giant tits onto a drawing of an angel. This also marks the film debut of Pamela Hensley who became best known for her work on the TV-shows ‘Buck Rogers in the 25th Century’ and ‘Matt Houston’.

There are clearly other comical westerns out there, but this one, with a script co-written by Robert Benton, manages to still have a good story, some very exciting moments and even a great twist ending. The prison used in the film was built specifically for the production and great effort was put in to make it seem authentic to the period. The detail that was put into it along with the rock quarry where the prisoners work in is impressive and worth catching just for that.

My Rating: 8 out of 10

Released: December 25, 1970

Runtime: 2Hours 6Minutes

Rated R

Director: Joseph L. Mankiewicz

Studio: Warner Brothers

Available: DVD, Amazon Instant Video

King Rat (1965)

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By Richard Winters

My Rating: 6 out of 10

4-Word Review: An island prison camp.

British and American POWs are held on an Island prison camp run by the Japanese during WW II. This camp is unlike the others as it does not have any walls, barbed wire fences, or prison guards. The men are allowed to roam freely while trapped on a tiny island with nowhere to go. Corporal King (George Segal) manages to wheel-and-deal his way to the top of the food chain by getting involved with the underground black market, which allows him to live the relative good-life while the other prisoners remain near starvation. He befriends Marlowe (James Fox) who can speak the Malaysian language, which he feels can come in handy as he gets involved with a diamond smuggling operation as well as selling deer meat, which unbeknownst to his customers is actually meat from rats who’ve feed off of the bodies of the other dead prisoners.

To some extent one can find some similarities to this and The Great Escape or Stalag 17 in that the prisoners have managed to create their own underground network without their captors being aware, but that is pretty much where the comparisons end. This film is darker and examines more the psychological deterioration that the men go through while realizing its themselves and each other that is more the enemy than the actual Japanese guards who are shown very little and have no presence at the camp or in the movie.

Segal gives a star making performance as a anti-hero who could easily be quite unlikable, but Segal’s engaging on-screen persona gives the character an added spark making him and his constant conniving more amusing than anything particularly with the way he barters with the Malaysian guards during their discussions on the price of the transfer of diamonds.

The supporting cast is outstanding as well especially Fox as the only sympathetic character and Tom Courtenay as the overzealous Grey and his never-ending crusade to take King and his cronies down. James Donald is also good as the no-nonsense Dr. with a very matter-of-fact bedside manner and a young Richard Dawson who gets the shock of his life when he comes in after the Japanese surrender to free the men of their enslavement only to find that they’re strangely reluctant to leave.

The film works in episodic fashion and while it maintains a gritty level it also has some lulls and few too many shifts in tone. There are though many unique and memorable moments including the ending where the men find themselves free to return home, but respond much differently than you’d expect. There is also a scene where the men kill a dog after it attacks some chickens and then later eat it as if it were a delicacy.

My Rating: 6 out of 10

Released: October 27, 1965

Runtime: 2Hours 14Minutes

Not Rated

Director: Bryan Forbes

Studio: Columbia Pictures

Available: DVD, Amazon Instant Video

The Pursuit of Happiness (1971)

 

pursuit of happiness 2

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Justice isn’t always fair.

Everything seems to be going William Popper’s (Michael Sarrazin) way. He is a young college student with a great looking girlfriend (Barbara Hershey) and from a rich family. One night he takes a trip to the grocery store. It is raining and he accidently hits and kills a woman who walks out onto the street between two parked cars. Since William has several unpaid traffic tickets, is part of the anti-establishment movement and seems to have a generally belligerent manner he gets arrested for her death. His rich father (Arthur Hill) hires a successful lawyer (E.G. Marshall), but William is a major idealist who doesn’t want to compromise on anything and the more he fights for his ideals the deeper it gets him into trouble.

The film, which is based on a novel by Thomas Rogers, certainly makes some great points about our modern day American justice system where everything seems more based on the image that the defendant tries to present than the actual facts. Unfortunately most viewers today are already quite jaded by this and the message comes off as old and redundant.

The biggest problem is with Sarrazin. He has always had a bit of a transparent quality and I’ve defended him in some of his other roles, but here he helps to bring the whole thing down. He conveys no anger or emotion of any kind even though it’s supposedly his passion for the truth that causes him to behave the way he does. His comes off as limp and lifeless making me wonder how such a bland guy could attract a girlfriend at all let alone a really beautiful one. His character is also a bit too stubborn and strangely naïve to the point that the viewer isn’t completely empathetic with his cause as it becomes painfully obvious that he is only hurting himself by refusing to back down at all while most rational people would’ve likely buckled under just enough to get themselves out of the jam.

The script unfortunately is more intent on making a statement than telling a story as we are given no conclusion to the character’s plight. He escapes from jail and takes a flight to Mexico, but then it just ends leaving open a wide array of unanswered questions and making the viewer feel like they’ve seen only half a movie.

Ruth White, in her last film appearance, gives a strong performance as Walter’s Archie Bunker-like grandmother. It’s also great to see Marshall playing a more hard-lined version of the defense attorney role that he was famous for from ‘The Defenders’ TV-show. Robert Klein is engaging as Walter ‘60s radical college friend and David Doyle is good as Walter’s cellmate. Charles Durning, Ralph Waite and Rue McClanahan can be seen in small roles and this also marks William Devane’s film debut.

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My Rating: 5 out of 10

Released: February 23, 1971

Runtime: 1Hour 33Minutes

Rated GP

Director: Robert Mulligan

Studio: Columbia Pictures

Available: DVD, Amazon Instant Video

Body Heat (1981)

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Lawyer kills lover’s husband.

Every Monday for the month of August I’ll review an 80’s film that has the word ‘heat’ in its title starting with this modern-day film noir classic. Ned Racine (William Hurt) is a shyster lawyer looking for some action and on one sultry hot Florida night finds it when he spots the beautiful Matty Walker (Kathleen Turner) at an outdoor concert. The two soon fall into having mad passionate sex, but there is one problem. Matty is married to Edmund (Richard Crenna) who is rich, but boring. She plants the seed in Ned’s head to kill him and thus allow the two to live happily ever after with the money they will get from his will. Ned jumps into the scheme with his eyes wide-open only to later realize after it is too late that Matty has other plans that don’t involve him and thus making him a schmuck of the first kind.

I still enjoyed Double Indemnity and The Postman Always Rings Twice better, but for a modern day film noir this one isn’t bad and rates superior to most of the others. Writer/ director Lawrence Kasdan creates characters that are amoral, but fascinating. The dialogue is snappy and the production stylish without ever getting too overdone or pretentious.  The first hour is a bit slow and it takes too long to get to the killing, but once the second half kicks in it becomes a wild ride of twists and turns that remains as entertaining as ever.

The movie also has numerous references to the heat even more so than most movies that takes place in a hot climate. Overall I enjoyed this as it makes the viewer feel sweaty and muggy even if the weather outside isn’t. The sweat glistening off their naked bodies is effective and not an irritating cliché like in most other movies. The only problem I had was that Matty lives in this giant, luxurious mansion and yet must rely on fans and open windows to cool off when in reality the place would have been wired with indoor air conditioning.

Turner, in her film debut, looks stunning and it is just unfortunate that due to illness and age she no longer looks anything like she did here. Her nude scenes are brief and from far away, but still hot.

Hurt is excellent as usual, but the character was a bit irritating. I realize that the guy is thinking with his penis and not his brain, but it still seemed hard to believe that he wouldn’t once just for a second step back and contemplate whether he was being set-up especially since her ‘tactics’ to convince him to do it weren’t in any way novel or sophisticated. The minute she brings up wanting to change the will like she does here so that she gets all the money instead of Edmund’s ex-wife should have been a red flag to even the dumbest and horniest of males that this woman is in love only with money and a good signal that he is being used and to dump her.

Ted Danson looking almost unrecognizable in horn-rimmed glasses is a stand-out in support and almost ends up stealing the film as Ned’s lawyer buddy. He also gets the movies best line. As everyone is sitting in a smoke filled room looking over the will and someone offers him a cigarette he states “No thanks. I don’t need any. I’ll just breathe in the air.”

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My Rating: 7 out of 10

Released: August 28, 1981

Runtime: 1Hour 53Minutes

Rated R

Director: Lawrence Kasdan

Studio: Warner Brothers

Available: VHS, DVD, Blu-ray, Amazon Instant Video, YouTube

Lonely Are the Brave (1962)

lonely are the brave

By Richard Winters

My Rating: 6 out of 10

4-Word Review: A modern day cowboy.

Jack Burns (Kirk Douglas) is a loner cowboy still trying to live the lifestyle of the old west in the modern day world and who must elude the police and all of their modern technologies when he escapes from jail.

Kirk is excellent. He really connects with the character and allows the viewer to do the same. The cinematography is first rate with spectacular shots of the western landscape. The cowboy’s escape through the rugged terrain as well as the police pursuit is exciting most to the way and there is a terrific well-choreographed barroom brawl between Douglas and actor Bill Raisch who later went on to star as the one-armed man in ‘The Fugitive’ TV-series. This is also a great chance to see some young actors just starting out including Carroll O’Connor and Bill Bixby.

On the negative end I wasn’t too crazy about Walter Matthau and William Schallert as the two policemen who are played too much for laughs. Some of their goofy exchanges are amusing, but it hurts the tension. I also disliked the ending. It does indeed leave an impression and was obviously done to make a statement, but it is not completely effective and is a real downer. It also leaves too many issues open including whether the Douglas character was able to survive.

The high production values help immensely and the story structure keeps things interesting and offbeat as well as exciting. The film though cannot overcome its ending, which isn’t very original and no more profound than hundreds of other stories and movies dealing with the same subject.

My Rating: 6 out of 10

Released: May 24, 1962

Runtime: 1Hour 47Minutes

Not Rated

Director: David Miller

Studio: Universal

Available: VHS, DVD, Blu-ray, Amazon Instant Video

The Great Escape (1963)

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By Richard Winters

My Rating: 8 out of 10

4-Word Review: Tom, Dick and Harry

Based on a true story involving POW’s in an ‘escape proof’ German Prison camp who devise a way to get out by digging three tunnels, which will go under the barbed wire fence and allow them to get out under the cover of a nearby forest. They decide to build three tunnels and call them Tom, Dick and Harry, so if the German guards discover one of the tunnels they can simply continue to work on the other two.

The producers built a complete replica of Stalag Luft III were the actual events took place and used Wally Floody who was a prisoner of the camp and took part in the escape as an advisor. The movie moves at a polished pace grabbing in you immediately and keeping you involved all the way through. The characters share a great camaraderie and it’s a terrific testament to teamwork and how by everybody playing a little role can help make great things happen. Their resolve and ‘can-do’ spirit is infectious and one of the major reasons the film is so compelling. The bouncy, upbeat patriotic music is good although it gets played a lot and most viewers will most likely hear it playing in their head long after it is over.

I did feel that the depiction of the camp seemed a bit too cozy. The men are allowed to freely walk around and congregate in large meetings where they make their plans and it seemed to me that a heavily fortified prison camp wouldn’t allow for that, or at least be more on top of things. I wouldn’t say the German’s are portrayed on a ‘Hogan’s Heroes’ dumb level, but at times it gets close. For instance when the James Garner character lifts the wallet out of the pocket of one of the guards he does not become aware that it is missing for what seems like several days and then when he does he doesn’t suspect the Garner character and instead goes back to him and naively asks for his help in finding it. When the Germans find one of the tunnels there are no reprisals even though I and some of the others in my movie group who watched it with me felt that there should have been. Also, when the Steve McQueen character attacks one of the German guards when they shoot his friend who is trying to escape he is not sent to the cooler even though he had previously been sent there for far less infractions.

On the acting side it is all top-notch. McQueen is as cool as ever. I love his detached manner and rugged willing to take risks personality. His escape by motorcycle, which was added into the story by his request, is exciting and one of the most memorable moments in the film. Charles Bronson is good as one of the characters who are most instrumental at digging the tunnels however I felt that it seemed a bit far-fetched and like tacky Hollywood melodrama that he had spent so much time working inside the tunnels only to suddenly get claustrophobic about them just as they are trying to escape. David McCallum has very few words, but gets gunned down in exciting style at a train station. I normally love James Coburn and his character is appealing, but his attempt at an Australian accent is atrocious.

Spoiler Alert!

Despite its title the film really doesn’t seem like all that great of an escape. For one thing out of the predicted 250 that were supposed to escape through the tunnel only 76 made it out before the Germans caught onto it and closed it off. Of those 76 there are 50 who get caught, rounded up and shot at point blank range. 12 get returned to the camp and only 3 actually make it to safety. When the Steve McQueen character gets sent back to the cooler in the film’s final scene I felt a bit frustrated and depressed and that the big ballyhooed escape had really lead nowhere.

My Rating: 8 out of 10

Released: July 4, 1963

Runtime: 2Hours 52Minutes

Not Rated

Director: John Sturges

Studio: United Artists

Available: VHS, DVD, Blu-ray, Amazon Instant Video

The Family (1970)

the family

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Hit man wants revenge.

Jeff (Charles Bronson) is a retired hit man who finds himself set-up and nearly killed by girlfriend Vanessa (Jill Ireland). When he unexpectedly survives the ambush he plots his revenge by planning on killing her as well as her secret lover who put her up to it, but along the way he becomes harassed by Al (Telly Savalas) who wants to bring Jeff into their crime organization any way they can.

The movie features a great acid rock-like soundtrack that pumps the adrenaline and gives the proceedings a nice edgy feel. The scene where Jeff shoots a man from a distance while the victim is participating in a car race and blowing out his tire, which sends him crashing through a brick wall, is creative. However, the best part of the whole movie, which comes at the end and almost makes sitting through it worth it, is watching two people getting shot as they ride up a glass elevator by a gunman sitting on top of a roof of a building from across the street.

On the whole though the film, which credits six writers to the screenplay and includes the legendary Lina Wertmuller is rather standard. Somehow it always seems the more people that work on the screenplay the less creative it becomes and this proves no exception. The characters are one-dimensional and the twists aren’t all that clever. Outside of the action sequences the story plods at too slow of a pace and you feel the whole time you are watching it that you’ve seen it all before.

For a savvy hit-man Jeff seems to be too much of a pushover. I can understand getting double-crossed once, but then he keeps going back to Vanessa and she does it to him again and again making him seem like a schmuck. The Vanessa character is equally annoying.  She is too wishy-washy and would have gotten a better emotional response from the viewer had she been better defined, or written as being a complete and total bitch.

Bronson is okay in the lead although he doesn’t have too much to say, which is good. His best moments come when he is silent particularly the scene inside the prison cell when he allows a giant tarantula spider to crawl all over him while he serenely sits smiling and the other prisoners look on with shock and awe.

Ireland looks great as always and shows a lot of skin. There is a scene where there is a close-up of her breasts as well as her backside while she is lying in bed. There is a moment of frontal nudity when she gets out of shower and she can be seen through the slightly fogged glass of the shower door. However, her face is always conveniently hidden during all of these shots making me believe that a body double was used although none is credited.

Savalas, who is the only one that gives the film any real energy, is wasted and doesn’t appear until the second half.

The complete and uncut version of the film done on the recent Blue Underground DVD release features scenes that were omitted from earlier English language prints. Unfortunately because these scenes where never dubbed into English they are shown in their original Italian language format. This becomes quite distracting as characters will be speaking in English and then during the same scene start talking in Italian and then back to English. The DVD features subtitles during these moments, but the version on Amazon Instant Video, which is what I saw, doesn’t. What is worse is the fact that these added scenes really don’t add much and they could have just been left on the cutting room floor. Fans will many times flock to purchase the ‘complete and uncut’ versions of films while failing to realize that there was probably a reason this extra footage was cut in the first place, which is namely that they were perceived as being boring or pointless and usually are.

If you are looking for non-think formula action that has just enough style to make it passable then this film should fit the bill, but it is no classic.

My Rating: 5 out of 10

Alternate Title: Violent City

Released: September 17, 1970

Runtime: 1Hour 49Minutes

Rated R

Director: Sergio Sollima

Studio: Universal Film

Available: DVD, Amazon Instant Video (as ‘Violent City’)

The Flim-Flam Man (1967)

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By Richard Winters

My Rating: 6 out of 10

4-Word Review: Con-man finds apprentice.

Curley (Michael Sarrazin) is a young army deserter living in an over-turned and abandoned freight car in the rural regions of Kentucky. By chance he meets up with Mordecai Jones (George C. Scott) a traveling con-man who decides to use Curly as his apprentice as well as his assistance in some of his more elaborate schemes. At first Curley goes along with it, but when he fall in-love with Bonnie (Sue Lyon) one of Mordecai’s intended victims he decides he wants out much to Mordecai’s reluctance.

Scott really shines and this may be his best comic performance. Although he was only 38 at the time he looks and acts like a genuine old man even though his gray hair looks like it was frosted on much like what is done to white Christmas trees. In some way it might have been more authentic had an older actor played the role, but Scott is so much fun in the part that the movie may not have worked as well.

Sarrazin is solid in support. His quiet demeanor and understated performances never allowed him to get the recognition that he deserved, but he was always effective in these types of roles and having the character walk the moral tightrope and sometimes fall off makes him interesting and believable. Lyon is also good as the romantic interest. Although I felt the romance bogged things down a bit I still enjoyed her natural acting style that is devoid of any pretension.

Harry Morgan is fun as the headstrong sheriff who chases after Mordecai and Curly as is Albert Salmi as his dim-witted deputy. Salmi’s blank looking facial expressions are tops and the car chase that they have with the two culprits features some impressive comical stunt work and seems to tear-up the entire main street of the town.

The soundtrack by Jerry Goldsmith has wonderfully soothing melody with some great harmonica and trumpet solos. The on-location shooting in Kentucky captures the countryside and the hazy late summer sunshine of the region well.  For the most part the film is quite amiable and amusing, but predictable. The script lacks the unexpected twist or unique insight that would elevate it above being just the fluff that it is. The ending, which features Curly rigging the courthouse with dynamite and threatening it blow it up has a touching quality to it, but proves frustrating as it doesn’t show us what ultimately becomes of the characters.

My Rating: 6 out of 10

Released: August 22, 1967

Runtime: 1Hour 44Minutes

Director: Irvin Kershner

Studio: 20th Century Fox

Available: VHS 

The Valachi Papers (1972)

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Testifying against the mob.

Based on the bestselling novel by Peter Maas this film chronicles the life of Joseph Valachi (Charles Bronson) who became the very first informant for the Mafia in their history. The story chronicles his life from a young man getting involved in the mafia culture to his eventual imprisonment and testifying in front of congress.

At the time of release this was compared closely to The Godfather with some critics outrageously saying it was better, but clearly it doesn’t come close. This film lacks the in-depth characterizations, lyrical quality, and an overall slick design. This film is also rather sloppily produced including one scene involving an exciting car chase taking place in the 1930’s. When the two cars go crashing through the wall of a warehouse and into the East river one can clearly see the Twin Towers of the World Trade Center, which weren’t built until 1970. There is also the Lucky Luciano character played by actor Angelo Infanti who wears a type of glasses that did not come into style until well into the 1970’s. However, as a whole the film is still amazingly compelling flick that ends up being both entertaining and somewhat informative. The music score has a terrific ominous tone to it and the prison scenes have a nice starkness.

The film was known at the time for its violence, which by today’s standards may not seem quite as startling or as excessive although the blood and bullets do come at regular intervals. My favorite was the shooting of an old crime boss inside a barbershop although the castration of a victim on top of a table inside a restaurant is pretty wild. However, for all of its violence the film does manage to have a sense of humor as well including a very amusing scene where one of Joe’s mob bosses sits in the living room of the mother of Joe’s girlfriend and asks the mother for her permission to allow Joe to marry her daughter while Joe sits nervously behind and tries to look proper.

Lino Ventura has the perfect face of a mob boss and was ideally cast. The scene of him inside the prison where he has stays in a well-furnished cell and even seems to have his own barber is funny. Joseph Wiseman displays great zest as the opposing crime boss Salvatore Maranzano and his agonizing yells of pain as he lies dying are effective.

Bronson seems perfectly cast as an uneducated simple man who is a follower and has his own quiky code of morality, which makes him strangely endearing. His wife Jill Ireland does not fare as well. She ports a brunette wig and her Italian accent borders on being horrendous to non-existent. Fortunately she is not given very many speaking lines as her British accent is constantly seeping through.

In many ways this film could best be described as an ugly cousin to Goodfellas. While this film lacks that film’s fluid directorial flair it still manages to be an engrossing true-life gangster soap opera like that one.

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My Rating: 7 out of 10

Runtime: 2Hours 5Minutes

Released: November 3, 1972

Rated R

Director: Terence Young

Studio: Columbia Pictures

Available: VHS, DVD

Breakout (1975)

breakout

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Escape from Mexican jail.

Loosely based on the actual 1971 incident involving Joel David Kaplan, who after being framed for murder and stuck inside a Mexican prison for 9 years, was able to escape when his sister hired a pilot to fly a helicopter into the prison yard and allow Kaplan to jump into it and flee. In this movie Jay Wagner (Robert Duvall) is the Kaplan character and Nick Colton (Charles Bronson) is the goofy, but lovable pilot.

Veteran director Tom Gries delivers a compact action pic that has a good mix of humor and excitement. The comedy is not forced and genuinely engaging, but once the action gets going it is entertaining as well. When the helicopter starts flying into the prison with 30 minutes left in the movie I found myself completely riveted. Gries photographs the action in a way that makes the viewer feel like they are inside the helicopter alongside Bronson. The stunts are authentic and done on-location, which is a big plus. One scene involving a man getting sliced up by an airplane propeller is surprisingly explicit and should make anyone wince when they see it.

My only quibble in the direction department is the opening where a man is shown being shot to death while Gries freezes the frame every few seconds as the victim falls down, which came off as being disjointed and distracting. There is also a shot of the dead body lying on the ground with blood stains on his white shirt. However, there are no bullet holes in his shirt and you really can’t have blood coming out of someone’s body unless you have bullet holes and if you have them piercing the skin you most likely would have them piercing the shirt, but none were found in the shot I saw.

Bronson is highly engaging and steals every scene that he is in. I was surprised how comfortable he was in a comedic role and it made me wish he had taken more stabs at comedy in his career. My favorite moment with him is his nervous, anxiety-ridden expression on his face when he tries to pilot a helicopter and finds that it is much more complicated than he realized. The running gag of him trying to pass off a bad check is also good.

Jill Ireland who plays the wife of the Duvall character and is the one who hires Nick for the job is also enjoyable. She is almost as amusing as Bronson especially with the way she becomes increasingly exasperated by the situation. The two seem to work better when they are adversarial and you could never tell that in real life they were husband and wife.

Sheree North is also great in a small supporting role. Although she was already in her 40’s when she did the part she still looks sexy in a full body shot of her in some really, really short shorts. Her very politically incorrect rape conversation that she has with Nick is good.

Duvall is wasted in a part that doesn’t allow for much range and limited screen time. I’m actually surprised that he even took the part. However, his hair style, and I’m not sure if it was a wig, or just a really good comb-over, but it completely covers up his normally bald head and makes him look twenty years younger.

Randy Quaid seems equally underused, but having the chance at seeing him in drag may make his appearance here worth it to some.

I didn’t like the part where Duvall gets buried alive while inside a coffin in his attempt to escape as it is too reminiscent of a classic Alfred Hitchcock episode entitled ‘Final Escape’, which is better and shouldn’t be touched. However, as a whole, this is a good 95 minutes of enjoyable non-think entertainment.

My Rating: 7 out of 10

Released: May 22, 1975

Runtime: 1Hour 35Minutes

Rated PG

Director: Tom Gries

Studio: Columbia Pictures

Available: DVD, Amazon Instant Video