Tag: the actors

Heart Beat

Heart Beat is a 1980 movie directed by John Byrum.

Heart Beat tells the story of the relationship between Jack Kerouac, Neal Cassady and Carolyn Cassady. Nick Nolte plays the iconic Beat Generation muse, while John Heard portrays Kerouac and Sissy Spacek is Carolyn. While the story attempts to capture the intimacy of a complicated relationship, the movie does a disservice to the vibrancy and pulsing energy of Cassady found in Kerouac’s writing.

THE BEST – Jazz and Cars

Kerouac’s sprawling On the Road is considered an unfilmable novel, at least given its non-linear path and deep spiritual and metaphysical yearnings. However, in a pure visual sense – Kerouac’s book can be boiled down to jazz and cars. The characters furiously race across the country in stolen vehicles and channel their co-opted spirits in dope-steeped jazz clubs.

At least compared to the pale 2012 movie version of On the Road, Byrum manages to remember these basic tenants. The cars look fantastic and while the energy suffers, at least we see Cassady and Kerouac in clubs idolizing their heroes.

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Framed

Framed is a 1975 movie directed by Phil Karlson.

WHAT HAPPENS?

A gambler is set up by crooked cops and forced to survive a jail term. When he is released, he gains vengeance.

ONE LINE REVIEW

Framed is a brutal, vicious and essential 70s revenge flick.

THE ACTORS

Joe Don Baker is a commanding and physical lead. His Ron Lewis is an inherently likable character – he’s tough yet affable, charming and occasionally cheesy. He pulls off the difficult trick of appearing both natural and incredibly dangerous.

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The Gambler

The Gambler is a 1974 movie directed by Karel Reisz.

WHAT HAPPENS?

A literature professor chases the thrill and destruction of his devastating gambling addiction.

ONE LINE REVIEW

The Gambler is a honest and often difficult look at the impulsive nature of a gambler.

THE ACTORS

James Caan is compelling as Axel Freed, a professor who constantly seeks the “juice” of betting. It’s a unique role for Caan – as he balances his character’s wealthy upbringing and intellectual background with an impulse for seedy action. Caan’s natural fire emerges in several scenes but is tempered during moments with Jacqueline Brookes’ Naomi. Caan appears both enabled and wounded – a victim of both his grandfather’s success and his warped addiction.

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First Blood

First Blood is a 1982 movie directed by Ted Kotcheff.

WHAT HAPPENS?

A Vietnam veteran is harassed by local police and flees into the mountains, where he wages a one-man war.

ONE LINE REVIEW

First Blood represents the end of 1970’s filmmaking and birth of 1980’s super action heroes.

THE ACTORS

Sylvester Stallone portrays John Rambo, a withdrawn Vietnam veteran who finds himself harassed by police in a small mountain town. Stallone adds subtle layers of humanity to his character – at least until he retreats to the woods and becomes a one-man killing machine. Stallone easily pulls off the action scenes, yet is effective in conveying Rambo’s intense PTSD and the ingenuity of a man adapting to his environment.

Brian Dennehy is tremendous as Teasle, the town’s sheriff who instantly targets Rambo as a “drifter.” Initially, he defends his actions as keeping the town “boring”, but then escalates his actions once both his deputies are killed and state police and military intervene. Teasle’s deputies include memorable turns by Chris Mulkey and David Caruso. However, the scene stealer is Richard Crenna’s Trautman – who reveals himself as Rambo’s Vietnam squad leader. Crenna gets to deliver some wonderfully verbose and over the top dialogue.

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Get Carter

Get Carter is a 1971 movie directed by Mike Hodges.

Get Carter tells the story of Jack Carter, a London-based mobster who travels north to avenge the mysterious death of his brother. Michael Caine portrays Carter, who proves to be an intriguing mix of charm, raw anger, sadness and endless wit. Caine is phenomenal displaying all of these complex traits – his ownership of the character is impressive. Caine simply gritting his teeth creates danger.

Hodges creates a stylish narrative – the use of quick edits and long POV shots help to create interesting narrative sequences. Caine’s Carter is rescued by a “fairy godmother” in the form of Geraldine Moffat’s Glenda. Her dramatic shifting of car gears is mixed with their passionate encounter. The tone of the movie continually returns to grimy locales and the tragic darkness of pornography – leaving it difficult to invest in any of its characters.

THE BEST – The Opening Scene

I’m a sucker for an opening scene that lays out the entire story. In just a couple minutes, we learn that Jack has to travel North to learn of his brother’s death – against the wishes of his London mob mates. It’s a simple, pleasing and effective setup.

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Across 110th Street

Across 110th Street is a 1972 movie directed by Barry Shear.

WHAT HAPPENS?

A daring robbery pits rival mobs against each other, while two New York City detectives try to solve the case.

ONE LINE REVIEW

Across 110th Street is a raw, authentic crime movie that features several standout acting performances.

THE ACTORS

Anthony Quinn and Yaphet Kotto rightfully deserve tremendous praise as Captain Matelli and Lieutenant Pope. Quinn represents the dying breed of slash and burn policing while Kotto is the procedural, intellectual ideal. Their exchanges anchor the story. Both are terrific and offer layered performances that explore both human vulnerability and the social and racial divides that permanently alter us.

However, the movie features a rich blend of supporting actors that define the era’s gritty style. Richard Ward’s Doc Johnson is brilliant as a Harlem mob boss who is a defacto power broker for both the Italian mob and police. Doc’s command of his authority is marked by a permanent calm. He casually refers to the volatile Nick as a “punk errand boy” and laughs as Matelli pulls a gun on him. His legend is forever secured – his gravelly voice chews out the truth: “I’m Doc Motherfuckin’ Johnson.”

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The Harder They Come

The Harder They Come is a 1972 movie directed by Perry Henzell.

The Harder They Come tells the story of Ivan Martin – played by Jimmy Cliff, a young Jamaican man who dreams of fame. He falls into a church camp before committing an assault. After recording an unreleased song, his crimes makes him a folk hero. Eventually, he runs afoul of police – leading to a cinematic final shootout. The movie is decidedly low budget but features an amazing atmosphere highlighted by Cliff’s incredible music.

THE BEST – Django

The Jamaican locals are captivated by Corbucci’s classic – particularly the first machine gun scene. It’s a fleeting moment but also significant given the movie’s ultimate ending.

THE BEST Part Two – The Clothes

Besides the music, the highlights of the movie are the incredible, vibrant clothes. As Martin’s progression occurs, his wardrobe blossoms. His clothes suggest he moves from street kid to legend.

THE BEST Part Three – Bandits

While the movie is often raw, it’s saved by some fun editing. There are quick cuts throughout the movie that enhance Martin’s ascent as a gangster legend. The best of these involve Cliff posing as an Old West outlaw – similar to a picture a kid would take at a fair.

THE BEST Part Four – The Ending

The cinematic quality of the movie’s ending is a loving nod to classic gangster stories of the 1930’s and 1940’s. Ultimately, the anti-hero has to fall but he does so with an appealing sentimentality.

THE WORST – Authority Figures

Religion and commerce are attacked throughout the movie. Basil Keane’s Preacher is portrayed as both oppressive and lecherous. As Martin lures Janet Bartley’s Elsa away from the church, Keane’s Preacher is outraged. However, we’re not sure if his anger is based in spirituality or something sexual. Bob Charlton’s Hilton – the record producer kingpin – is a coldly vicious businessman who exploits his talent. It’s only after Martin’s legend grows that his record is released.

FOX FORCE FIVE RATING – 3.75/5

The Harder They Come is a fun visual experience. The colors and energy are captivating and the movie’s soundtrack is phenomenal. While the production is raw and choppy, the movie presents a unique experience.

Sitting Target

Sitting Target is a 1972 movie directed by Douglas Hickox.

WHAT HAPPENS?

An inmate escapes from prison after learning his wife has left him.

ONE LINE REVIEW

Sitting Target is a raw crime movie that features a brilliant, intense Oliver Reed performance.

THE ACTORS

Oliver Reed inhabits Harry Lomart, a prisoner who seethes with rage after his wife declares she’s both pregnant and leaving him. Reed’s passion is endearing but he exhibits a dangerous rage. The initial scene with Jill St. John’s Pat is a frightening display as Reed’s Harry busts through a glass pane to choke her. Reed’s character maintains his intensity throughout but also shows a tender side. After their escape, he splashes like a kid in a bubble bath. The moment is fleeting as he is viciously tracking his ex-wife.

Ian McShane is fun as the sardonic Birdy, who breaks out with Harry. Birdy’s attitude alternates between carefree and a voice of conscious. The tone shifts darker as Harry secures a machine gun – an event that moves the plot into a deadlier place. Jill St. John is a scene stealer as Pat. Her ulterior motives reveal a character who is entangled with all sides of an emerging plot. As the movie progresses, she becomes the most intriguing character.

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Villain

Villain is a 1972 movie directed by Michael Tuchner.

WHAT HAPPENS?

A vicious mob boss runs afoul of Scotland Yard after he blackmails a member of Parliament.

ONE LINE REVIEW

Villain is an unsentimental British crime movie that features a brilliantly quirky Richard Burton performance.

THE ACTORS

Richard Burton chews up the screen as the menacing Vic Dakin, a mobster that is equal parts vicious and hopelessly devoted to his aging mother. Burton’s Dakin is surrounded by colorful thugs but owns every scene. He’s witty and stylish but commanding – his great one-liners are often followed by tone-changing, frightening glares. His loving relationship with his mother and complicated sexual encounters with Ian McShane’s Wolfe complete a truly unique gangster character.

Ian McShane leads a fun group of supporting actors. His Wolfe is a coy, debonair pseudo high class pimp entangled in a sexual relationship with Burton’s Dakin. He maintains a power over his girlfriends, loaning them out to snare politicians into manipulative traps. Yet Dakin pummels him after an episode in the bedroom. Nigel Davenport is the sophisticated Inspector Mathews who engages in a cat and mouse chase with Dakin. Numerous thugs round out the cast, including Joss Ackland’s ever-suffering Edgar.

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The Searchers

The Searchers is a 1956 movie directed by John Ford.

The Searchers tells the story of a Civil War veteran tasked with finding his abducted niece. John Wayne stars in an atypical role as the boorish and jaded Civil War veteran Ethan Edwards. Positioned as an antihero against matinee idol Jeffrey Hunter, Wayne’s character is brutal, cruel and temperamental. It’s an intriguing performance from the legendary actor – especially given his volume of stereotypical heroic Western roles. Ford’s direction is solid in the movie’s action sequences but the tone awkwardly shifts during longer narrative scenes.

THE BEST – Gorgeous Cinematography

The Searchers is a beautifully shot movie. The stones, snow and sands of the Arizona desert and mountains are a majestic backdrop for Ford’s sweeping chase scenes and moments of isolation. The grand expanse of the surroundings is a foreboding reminder of the danger lurking. Similarly, Wayne – our veritable hero – is often framed as an outsider, including in the movie’s famous ending.

THE WORST – Every Actor Other Than Wayne

Wayne is terrific in shaping a mostly unlikeable character. And while the rest of the large cast feature proficient acting, their characters aren’t believable. The range of odd emotional outbursts and overacting is distracting throughout the movie. These moments can negate the gorgeous cinematography and gritty story. Of particular note is Hank Worden’s Mose, a character whose persona falls somewhere between demeaning and jarring. The villain Scar is grossly miscast, as Henry Brandon’s dull, blue-eyed pseudo-native can’t match the narrative’s description.

FOX FORCE FIVE RATING – 4/5

The Searchers is a must-watch and definitely a Western classic. Wayne’s transformation into an anti-hero is remarkable and the cinematography is beautiful. Yet, the movie lingers and suffers from hokey and emotionally over-wrought acting.