Bala blindada

I watched this after seeing the 2004 remake and was quite surprised by how good this one is. Scott Glenn gives a suitably haunted and melancholic performance, despite his dorky 80s wardrobe; no man can look cool with puffy shoulder pads like Joan Crawford and his coat-sleeves pushed up past his elbows. Jade Malle has just the right combination of loneliness and intelligence as the kidnap victim. Joe Pesci has a great weapons prep scene (opening a crate of handguns he says gleefully, "I ran into some old friends of ours. Do you recognize any of these guys?") but he isn't really given much to do. The violence is quick and dirty. The director, Elie Chouraqui, directs in a style that recalls Brian DePalma when he was at his peak.The ending is open to interpretation. Perfect. All in all I would say this version of Man on Fire is definitely worth seeing.

You'd have to dig a bit to discover that Man On Fire with Denzel Washington is actually a remake, or rather another version of a book that's out there somewhere, but there is indeed film from 87' bearing the same title and basic plot outline, albeit with a heavy dose of melodrama. Swap out Denzel and Chris Walken for Scott Glenn and Joe Pesci, Mexico City for Italy and Tony Scott's neo-punk visual aesthetic for a more stone-faced, straightforward approach and you'll have some idea. It's a passable film, but instantly pales with any comparison to Scott's outing, which is a masterpiece and one of the best films of the century. Glenn is Creasy, a mopey ex CIA soldier who gets a job from buddy Pesci protecting a wealthy businessman (Jonathan Pryce) and his family, mostly driving their precocious young daughter (Jade Malle) around. The two are rocky at first, begin to bond, she's kidnaped and Creasy wages war on the criminals who took her with an arsenal of firepower provided by Pesci. At ninety minutes it's a little too short for any of this to be developed properly, or proportionately so to other elements, but it works well enough. The strongest bits are the early scenes where they make friends, brought to life by Glenn's warm smile and Malle's emotional curiosity. The final act of revenge feels oddly rushed, awkward and too overblown to justify the lack of action we get, it should have been more hot blooded and sustained. It's still a decent piece though, with the distinct cast doing fine work, especially Pesci who is volatile and unpredictable, almost stealing the film from Glenn. Nothing compared to Scott's version, but worth a look.

Although several films are entitled "Man On Fire", this one (1987) has Scott Glenn playing the lead. This precision and talented actor has accomplished many a role in which he so personifies and brought to life the living essence of his character, that few can deny his superior ability. So much so, when we view any performance he exhibits, he is truly remarkable. Much the same can be said for the gifts of Europe's Elie Chouraqui. He proves to be an adroit, and successful director. With the combined talents of both and then add Joe Pesci as David, Jonathan Pryce as Michael, Paul Shenar as Ettore and especially Danny Aiello as Conti, the film becomes a unique stage upon which abundance talent is configured to provide an explosive outcome. Interweaving, both classic literature and stirring quotes between Hero and his young charge for whom he has been assigned as bodyguard, it's hard not to picture a restrained tiger on a leash which had been wounded and left for dead. As a result, it convinces this audience member that at anytime during the dark, moody and poignant tale, the screen will detonate and shake the foundations of the theater. Instead, Chouraqui restrains Scott and his pent-up volcanic anger until the climatic finale which is both dynamic and emotionally touching. All in all, a great vehicle for Glenn and his acclaimed resume. ****

As has been said, when people think of the title 'Man on Fire' one immediately think of the far better known 2004 film. Which is actually a remake of this film from 1987. This version was not well received by critics at the time and is a poor adaptation of the book (almost unrecognisable and the book's author AJ Quinell disliked it intensely for that reason), but to me it is a perfectly serviceable film in its own right.

One of those times of me going against the general critical consensus. Tend to be along the same lines and on the same page as critics, who tend to be unfairly bashed on the internet for no reason, but there have been times where a panned film is not that bad to me and an acclaimed film considered not that good or not doing much for me. The former is an example here. 'Man on Fire' is not a great film exactly and can totally see where the critics are coming from. Personally do share some of their criticisms. However, 'Man on Fire' does have a lot of things in its favour, so if asked whether it is that bad my answer would be no. Not a lot is done exceptionally, nothing also is done disastrously.

'Man on Fire' is an interesting film visually. The locations are stunning, especially the palazzo, the industrial loft and the boat dock, and the film has some of the best ___location shooting from personal opinion of any film from that year. Not perfect by all means, some of the editing is choppy and incomplete-looking and count me in as another person or didn't see the need for the slow-motion, which has very rarely been a favourite camera technique of mine in film. The music is dynamic and haunting.

The script has some nice tension and, contrary to what some critics have said, it does have wit and coolness (especially Scott Glenn's lines). The story could have been better, the build-up of the first half tends to be slow and take too long, some of it is routine and other parts forget to make sense and come over as ludicrous. However, the second half generally really picks up the momentum, fun and suspense levels, leading to an exciting and touching ending.

Don't agree that it completely lacks emotion, though there could have been more and it does for my liking come too late. The action mostly (a few routine moments) is gritty and suitably uncompromising without going unnecessarily over the top. The direction has been criticised, can understand as it is sluggish to begin with but there is a real sense that Chouraqui is more comfortable.

Scott Glenn is an intensely charismatic lead and carries the film brilliantly. Jade Malle is more charming than she is irritating, which was great. Her and Glenn's chemistry is the heart of the film and it is dealt with a believable amount of charm and that it developed gradually rather than them hitting it off straight-away was a good move. In support, a fun Joe Pesci and sinister Danny Aiello (despite an inconsistent accent) stand out.

Not everybody comes off well, more to do with screen time than performance quality. Jonathan Pryce and Brooke Adams just have too little to do to make much impression, Adams in a role little more than the smallest, blink-and-miss of cameos is particularly wasted.

In summary, not a bad film and has enough to not make it fizzle but some elements bring it down from being on fire. 6/10 Bethany Cox

Not being fan of director Tony Scott's 2004 remake starring Denzel Washington and Dakota Fanning, it however did get my attention that this novel adaptation was also attempted in the late 80s in a very European style. Not as easy to get a hold off, but it turned out to be a solidly atypical, if unspectacular, lean revenge thriller with a striking performance by Scott Glenn in the central role as former CIA agent turned bodyguard Mr. Creasy. It's the cast that makes this one work (where can you get Joe Pesci doing what he does best; getting angry; yelling profanity, breaking radios and singing "Johnny Be Goode"), outside some methodically stylish directorial touches (like the opening slow motion intro) and stunning Italian backdrops and decors. The music score is atmospherically edgy and always complements the on-screen action with the cinematography fluidly projecting the details.

The pacing is rather stodgy, as it does take awhile before it builds up some momentum (soon after the ransom kidnapping by some terrorists), there it crackles along (Creasy gaining health and then going on the warpath finding those involved to only dispatch them) until reaching its abrupt, if confused climax. However the final frame really does paint a beautifully haunting picture, which does leave it open. While grimy and mean when it does explode (effectively staged too), it might be too short-lived, as it could have up the ante on numerous occasions (despite one bloody shoot-out and a brutal beat-up scene). Instead it's rather understated - more so moodily brooding in its activities (and Glenn's husky narration), as it's quite a lyrical character drama, spending a lot time developing upon the relationship of the young girl and her bodyguard. While not particularly deep, still it feels genuine in the thoughtful bonding and the transformations. Glenn's wearily lamenting, but hardy performance balances out nicely to Jade Malle's wholesomely bright turn. Danny Aiello shows up as one of the kidnappers. Also the cast features Brooke Adams (who we don't see too much of) and a little role for Jonathan Pryce.