Point Blank

Still packs a whallop after all of these years, this was undoubtably a big influence on all the tough-loner-on-quest-for-revenge movies to come. What's really interesting is how Marvin's unemotional and seldom speaking character is quite fascinating. Instead of him being bland, we keep studying, somehow trying to find SOMETHING behind his cold stare.

Though tough, this movie is not without a sense of humor, though it's quite subtle, such as the test drive sequence. It's good stuff, though I did have one problem; the ending is quite confusing. I am sure other viewers will not quite be able to determine what's going on.

Point Blank kind of came and went in theaters but I can't imagine anyone who saw it in 1967 left forgetting John Boorman's tough and beautiful film. A simple story told in a very stylish and, at times, surreal manner. Though the storyline is a variation on "revenge" themes, it is Boorman's images that open it up and find pay-dirt. Images of Lee Marvin emptying his pistol in slow motion, the sound of footsteps over a string of pictures that curdle the mind, and the seemingly limitless use of rawness perfectly realized in the action and performance by Marvin and,interestingly, Angie Dickinson. There is a wonderful conflict between the primal Marvin and the Corporate Crime world which he cannot understand. Marvin knows survival of the fittest- not the richest. It's hypnotic and aggressive. Boorman balances perfectly on the line between the two.

In the wake of his Cannes Best Director award for The General, Boorman's stunning debut has been released with a new print. Unrelentingly downbeat, this stylish crime thriller made in 1967 seems to have fuelled virtually Elmore Leonard novel.

Steely, panther-like hitman Walker (marvellous Marvin) has been fitted up, shot at and had $93,0000 stolen from him all because of ex-pal Mal Reese (John Vernon). A tad upset he decides to resurrects himself, with the help of the shadowy Yost (Keenan Wynn) for revenge and his payment.

Boorman greets us with a five-minute sequence that is crammed with curious camera angles, fractured time-lines and carefully constructed compositions. We're bombarded by a montage of piercingly violent images blended together with fragments of a failed heist on Alcatraz Island and a pair of slugs ripping into Walker's body. We're only privy to these flash snippets of information, but they're still enough to help us empathise with Marvin's masterly obsessive.

A year or two later Walker is on a tourist boat trip to Alcatraz, being propositioned by Yost. The creepy Yost knows where Mal and his Walker ex-wife Lynne (Sharon Acker) are and is willing to reveal this to him, just as long as he receives some information on a shadowy body called "The Organisation". Walker simply nods. His dialogue is minimal, his obsession is reflected through his curt questions, his sudden movements, his eyes and the flashbacks that haunt him.

When he catches up with his cheating ex-wife he allows her to talk uninterrupted in a desperate, forlorn monotone - "He's gone. Cold. Moved out," she says. Walker barely takes it in, all that motivates him is the thought, "Somebody's gotta to pay."

While others flounder, Marvin appears impenetrable like one of Sergio Leone's cowboys. Only Clint Eastwood never conveyed this much emotion in his movements.

Boorman's seminal film preceded the spate of fabulous paranoia flicks that enriched 70s American cinema – The Conversation, The Parallax View, All The President's Men – where a shadowy "Organisation" pulls the nation's strings. Tarantino has since appropriated this organisation theme on a small-time level, plagarising the black suits and the unwavering professionalism of the violence. De Niro's ex-con in Jackie Brown is based on Marvin's Walker, as are countless other performances.

Even Angie Dickinson, playing Lynne's sister Chris, leaves him cold. In a remarkable scene she resorts to repeatedly slamming Walker's immovable slab of a chest. He remains impregnable, emotionally void. She keeps on punching until she finally collapses on the floor in a heap. They finally make love, only for the isolation, the loss of identity, to continue. Is he an avenging angel? Is he there at all?

"Hey, what's my last name?" asks a post-coital Chris. "What's my first name?" he deadpans, answering a question with another question. Always seeking answers, never providing them. No love left in him, only a need for payment.

Point Blank contains inspiring visuals, a haunting soundtrack and some stunning acting. Fabulous, groundbreaking cinema. --Ben Walsh

Point Blank(1967) is a early feature by John Boorman who would go on to direct Deliverance(1972), Excalibur(1981), and The General(1998). It is an excellent noir about a man who's betrayed and left for dead who goes after the outfit that owes him money. Point Blank is a tightly constructed thriller with brillient montage and mise-en-scene. The film does a good job at showing the phychodelic colors of late 1960's San Fransico. Lee Marvin in this movie shows why he is one of the best Hollywood tough guys of all time. It is much better than the remake Payback(1999) because of Lee Marvin's presence and the masterful editing and camera work of the film.

Love it, great film.

For one thing, POINT BLANK, directed by British director John Boorman, has all the good looks of the various movements of the European New Wave, but walks the walk and talks the talk of an American thriller, and I mean that as a good thing. Boorman's brilliantly composed combination of European artfulness with film-noir elements make for an exceptionally rich and multi-layered crime thriller.

Lee Marvin, in typically emotionless fashion, is the remorseless Walker who, after pulling off a successful heist from the mob, is double-crossed, shot and left for dead in the now abandoned Alcatraz prison by his wife (Sharon Acker) and his partner-in-crime (John Vernon). Walker survives, escapes and moves to LA, where he kills his way up the ladder of a vaguely defined organized crime syndicate called "The Organization", hardly distinguishable from a legitimate cooperate business, in order to get his $93,000, occasionally aided by his sister, Chris (a great Angie Dickinson), who seems to know Walker's targets pretty well.

Philip Wisethrop's widescreen compositions are absolutely stunning. One of the most impressive scenes is when Walker is fighting two hoods in a nightclub, against a swirling psychedelic backdrop, to the strains of the R&B houseband, with its black singer hysterically shouting letting the mostly white clientèle shout with him in his microphone. But every scene is a marvel to watch, with every detail painstakingly composed without getting stiff or forced in any way. Even the car windows are almost unrealistically spotless, in order to film Walker through the glass with the reflections of the city on his face.

The film is packed with all kinds of surreal surroundings and lots of flashbacks concerning Walker's past. Boorman's games with narrative time, with extensive use of echoing flashbacks and jump-cuts, are the perfect reflection of Walker's dream-like struggle for justice, He's the typical tragic (noir)-hero, in a perpetual struggle to grasp what happened to him. He desperately tries to comprehend the situation he's in, but hasn't got a clue who's who and his outdated moral codes make him seem an even bigger anomaly in the modern corporate world he works his way into.

Whether this is all actually happening or it's all a mind-spin inside Walker's head is impossible to say. Best to enjoy the ride in this true genre classic, definitely one of the best American thrillers of the '60s. If you get the chance, watch it together with Melville's LE SAMOURAI (1967) and Seijun Suzuki's BRANDED TO KILL (1967), in many ways its French and Japanese counterparts.

Camera Obscura --- 9/10