Lee Marvin

Angie Dickinson

Keenan Wynn

Carroll O'Connor

Lloyd Bochner

Michael Strong

John Vernon

Sharon Acker

James B. Sikking

Sandra Warner

Roberta Haynes

Kathleen Freeman

Victor Creatore

Lawrence Hauben

Susan Holloway

Sid Haig

Michael Bell

Priscilla Boyd

John McMurtry

Ron Walters

George Strattan

Nicole Rogell

Rico Cattani

Roland La Starza

Paul Bradley

George Bruggeman

George Calliga

Jerry Catron

Dick Cherney

Bud Cokes

Bonnie Dewberry

Richard Elmore

Barbara Feldon

Duke Fishman

Carey Foster

Stu Gardner

Rudy Germane

Kenneth Gibson

Bill Hickman

Chuck Hicks

George Hoagland

Harvey Karels

Joseph La Cava

Louise Lane

Karen Lee

Ethelreda Leopold

Philo McCullough

Joseph Mell

Monty O'Grady

Andrew Orapeza

Murray Pollack

Anthony Redondo

Leoda Richards

Clark Ross

Cosmo Sardo

Jeffrey Sayre

Felix Silla

Norman Stevans

Robert Strong

Tim Taylor

Sid Troy

Guy Way

Ted White

Louis Whitehill

Roseann Williams

John Zimeas

John Boorman

Norman Stuart

Donald E. Westlake

Judd Bernard

Robert Chartoff

Irwin Winkler

Johnny Mandel

Philip H. Lathrop

Henry Berman

Albert Brenner

George W. Davis

F. Keogh Gleason

Henry Grace

Margo Weintz

Edward Woehler

Mel Lewis

Franklin Milton

Al Jennings

William Stair

J. McMillan Johnson

Patricia Casey

Rafe Newhouse

David Steen

William Tuttle

Sydney Guilaroff

Alexander Jacobs

David Newhouse

Van Allen James

Larry Jost

Crime

Thriller

Drama

Point Blank

Metro-Goldwyn-Mayer

Chartoff-Winkler Productions

United States of America

You're a very bad man, Walker, a very destructive man!

Point Blank is directed by John Boorman and collectively adapted to screenplay by Alexander Jacobs, David Newhouse and Rafe Newhouse from the novel The Hunter written by Richard Stark. It stars Lee Marvin, Angie Dickinson, Keenan Wynn, Carroll O'Connor, Lloyd Bochner and Michael Strong. Music is by Johnny Mandel and the Panavision cinematography (in Metrocolor) is by Philip H. Lathrop.

Betrayed by wife and friend during a robbery, Walker (Marvin) is left dying on a stone cold cell floor at closed down Alcatraz...

Pure neo-noir, a film that could be argued was ahead of its time, given that it wouldn't find a fan base until many years later. Yet it deserves to be bracketed as a benchmark for the second phase of noir, a shining light of the neo world, experimenting with techniques whilst beating a true film noir heart.

The story is deliciously biting, pumped full of betrayals and double crosses, fatales and revenge, death and destruction. It even has a trick in the tale, ambiguity. It all plays out in a boldly coloured Los Angeles, the photography sparkles as Mandel lays an elegiacal and haunting musical score over the various stages of the drama. The talented Boorman has a field day with the elements of time, shunting various strands of the story around with sequences that at first glance seem out of place, but actually are perfect in context to what is narratively happening, the director gleefully toying with audience expectations. While suffice to say angles are tilted and close ups broadened to further style the pic.

Then there is Walker, a single minded phantom type character, played with grace and menace by Marvin - who better to trawl the Los Angeles underworld with than Marv? This guy only wants what he is owed from the robbery, nothing more, nothing less, but if the meagre reward is not forthcoming, people are going to pay with something more precious than cash. His mission is both heroic and tragic, with Boorman asking the viewers to improvise their thought process about what it all inevitably means. Funding the fuel around Marvin are good players providing slink, sleaze and suspicion.

Deliberate pacing isn't for everyone, neither is stylised violence and stylish directorial trickery, but for those who dine at said tables, Point Blank, and Walker the man, is for you. 9/10

English

John Landis on POINT BLANK

Point Blank (1967) - trailer