Archive for Charles Bronson

Twelve Mangly Men

Posted in FILM with tags , , , , , on July 28, 2020 by dcairns

Neither of us had watched THE DIRTY DOZEN before. So we did.

The distance between the nominally anti-war ATTACK! and this is not as great as first appears: the trouble with the “bad officer” school of war movie is that the assumption must be that, with a better officer, more of the right sort of people could be killed. TDD is correct in showing that war is a dirty business, but it can’t help but be an enjoyable guys-on-a-mission romp. The Boys Own adventure was traditionally clean-cut, but you can have dirty versions and much remains unaltered.

“There’s all kinds of weird male energy going on here!” remarked Fiona. Most of it comes from Lee Marvin, who puts on a mock-camp act to tease the men, but is also genuinely seductive when recruiting them. This is a man, we can assume, who is confident in his masculinity. Aldrich shoots hell out of everything with bullets but also angles: his coverage is extensive but interesting. Plenty of floor-level shots. And Donald Sutherland makes a good thing to cut to when in doubt.

If the idea is that these guys are effective in war because they’re much worse than ordinary soldiers (I’m told that the Germans really did have a squad recruited from prisons and asylums, but their missions were all the same: commit atrocities against civilians — the SS thought they went too far) then it’s odd that the grisly idea of burning the enemy alive in their bomb shelter is suggested by the officer, a non-dirty participant. But there are many things that don’t add up here. The title sequence is very nearly great except the titles chap, in a hurry to get the thing over in a decent amount of time, scrolls credits past each of the dozen, resulting in amusing name-face mismatches. THE DIRTY DOZEN stars Liberty Valance; Ragnar; Harmonica; Slaughter; Johnny Stacatto; Sheriff Kip McKinney; Herman Scobie; Mike Hammer; Smith Ohlrig; Pontius Pilate; Giacomo Casanova; Nick Nitro; Juror 12; Alraune; Ming’s Brute; Capungo; and Walter Paisley.

The Bad, The Bad and the Bad

Posted in FILM with tags , , , , , , , , , , , , , , , , , on October 17, 2019 by dcairns

FOUR FOR TEXAS is the Aldrich movie which sent him running back to hagsploitation. Apparently he didn’t have a good time with Frank & Dino. Frank & Dino were enough to make Bette & Joan look like a rest holiday. Frank & Dino together in a western is altogether too much of a disputably good thing, I think — it matters in RIO BRAVO that Dino has Duke to balance out the goombah energy with some more “authentic” movie-cowboy attitude.

Talk about spaghetti westerns. In fact, the first ten minutes of this one, a stagecoach raid and a series of reversals with the two stars pulling guns on one another over a carpetbag full of loot, plays quite Leonesque. Cynical, amoral, with a cold-hearted attitude to the little guy, who in this case is Percy Helton so maybe we can say it’s justified? But it’s the “zany” Leone of MY NAME IS NOBODY, all trick opticals and flippancy. Still, it really feels like a miniature dry run for the Italian west, just as VERA CRUZ feels like a more coherent and successful early clue to the new direction.

Then, however, the film gets REALLY bad. It follows the basic pattern of anything that’s died: stinking, bloating and decaying before your watering eyes. Sure, lots of familiar Aldrich faces show up, including V. Buono and that irritating va-va-voom fucker from KISS ME DEADLY. Who tragically doesn’t get blown up in this one.

Admittedly, I was watching a 4:3 DVD (why do such things exist?) but once the movie moves into town and indoors, the effect becomes very televisual, apart from one or two eyeball-searing sets. I can’t be fair to the film having seen it in the wrong ratio, but somehow I don’t WANT to be fair to it.

“Ekberg! Dead ahead!

“Why does this film sound like Batman?” asked Fiona, wandering in like a small child. I looked up Nelson Riddle, composer — her diagnosis was spot-on. I could wish it sounded EVEN MORE like Batman, had the Batman TV theme tune, in fact, and maybe starred Adam West as Batman. Was Buono ever a Batman villain? Any speculations as to his probable villain name are almost certainly going to make me sound fattist, and I’m not skinny enough for that look.

(Here’s how you figure out your Batman villain name: you pick something you always do, and put “‘er” on the end of it and “the” on the front.)

New Batman villain: The Flasher.

The movie is written by a woman, Teddi Sherman, a western specialist. Aldrich liked to selflessly claim the blame for the script also, and IMDb has the great W.R. Burnett playing some kind of wisely uncredited writing role.

The women are all costumed as if for a porno western.

Charles Bronson is maybe the only performer to emerge with credit, and it makes sense that Leone selected him.

Maybe watch the first reel but then avoid avoid avoid.

Everyone’s in it! I really found myself hating the leads. Phonetic transcriptions of Ursula Andress’s line readings would be the only way to get any pleasure out of this one.

“I’m glat you feels zat way. Main who worry about little sings bo-arr me.”

“I like main whoh wurr about me.”

“I was afraid off der disaternoon you may sink my gown wuss too raivealing.”

“Ope erhaps you fail like most American mendoo.”

It’s not clear that the Three Stooges are CORRECTLY UTILISED.

FOUR FOR TEXAS stars Tony Rime; Matt Helm; the killer nun; Honey Ryder; Paul Kersey; Edwin Flagg; Daggoo; Pablo Gonzalez; ‘Knuckles’ Greer; ‘Moose’ Malloy; Lt. Pat Murphy; Dehlia Flagg; Wilma Lentz; Grandma Walton; Alamosa Bill; Miss Hearing Aid; Dr. Lehman; Mr. Peevey; ‘Dum-Dum’ Clarke; Og Oggilby; and Not Themselves.

Hamburger Hill

Posted in FILM with tags , , , , , , , , , on May 20, 2014 by dcairns

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When I first began to read film reviews regularly, back in the eighties (gasp), a puzzlement was the high regard that (male) British critics had for figures like Clint Eastwood, John Milius and Walter Hill. A puzzlement because (a) the films didn’t seem to me to be that good and (b) the macho, what we would now call libertarian ethos (Hill & Milius I think called themselves right-wing anarchists) seemed like it would probably contrast fairly strongly with the politics and personalities of newsprint critics writing for The Guardian or The Independent or even The Sunday Times.

Allowing for simple variations in taste and that maybe I was just missing something, there could wel be a sort of nostalgia for the man’s-man drectors of the forties and fifties, who made some really excellent films, on which those critics were weaned. So maybe, if you’re starved on Ford and Hawks in the current releases, you would be more inclined to embrace Milius and Hill as the best available substitutes. But if the films are RED DAWN and EXTREME PREJUDICE, isn’t it a rather unsatisfying feast?

But having recently been blown away by DILLINGER, I get a better sense of the redeeming qualities of these gruff, cigar-chomping sociopath types. And Hill’s HARD TIMES, though not in the same league, is not bad. Handsome damn film, in fact.

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Maybe there’s a weakness in the ending – basically bare-knuckle fighter Charles Bronson never loses a fight in the whole movie, which does eat away at the sense of jeopardy. Still, I felt undeniable tension at times. Maybe it’s not a question of jeopardy, so much as a feeling that if the good guys win, it neutralizes the title and robs the film of a sense of purpose. The all-round happy ending says “Everything’s fine!” in a way that bothers me. It ain’t CHINATOWN.

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Still, the Coburn/Bronson voluble/taciturn double act is fine, and Strother Martin as “Poe” — supposedly a relative and certainly a fellow spirit of the famed writer — is a joy. Maybe Coburn is too cool to convince as, basically, a loser, with great dreams but a weakness for cards. Coburn is always effective on screen but not always complex — Peckinpah could muster some confusion and inner conflict, but I didn’t buy him as self-destructive here, except for plot reasons.

But I was impressed by how Melvillian it all was – Bronson in his hideous apartment with his stray cat – it’s clear that Melville was inspired heavily by THIS GUN FOR HIRE in which Alan Ladd gives milk to a cat, leading to Alain Delon’s canary in LE SAMOURAI. I wondered if Hill & co were also thinking of the milk & kitten motif in Sternberg’s UNDERWORLD, and given that James Coburn’s character here is called Weed, I think they probably were. What a complex interlacing of influences is at work!

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LOVE Bronson’s apartment.