Point Blank
by John Boorman
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DVD details
Actor: Angie Dickinson, Carroll O'connor, Keenan Wynn, Lee MarvinDirector: John Boorman
Brand: Warner Brothers
DVD: Region Code 1
Audio: English (Unknown), Dolby Digital 2.0 Mono; English (Subtitled); Spanish (Subtitled); French (Subtitled); English (Original Language), Dolby Digital 2.0 Mono; French (Dubbed), Dolby Digital 2.0 Mono
Format: Closed-captioned, Color, Dubbed, DVD, NTSC, Subtitled, Widescreen
Picture Format: Widescreen, 2.35:1
Running Time: 92 minutes
DVD Release Date: 2005-07-05
Audience Rating: NR (Not Rated)
Model: 67414
Studio: Warner Home Video
DVD Reviews of Point Blank
DVD Review: Lee Marvin's uncomfortably evil spark
Summary: 5 Stars
"Point Blank" is one of the most fascinating films to ever emerge from the 1960s. It's a classic, though granted an acquired taste, that will leave many film-going novices scratching their heads. I understand why some viewers have difficulty "getting" this 1967 work. It's a stark, bare as bone, minimalist revenge film with hip style to spare. It's experimental and brutal, with an uncompromising conclusion that will leave you questioning all that came before.
Directed by John Boorman early in his career (this was his second film, with Hell in the Pacific and Deliverance still to come), it's an American produced, French New Wave-inspired, psychedelic, dream-like thriller sculpted by a youthful British craftsman. Throw into this spicy brew a hungover Lee Marvin with an edge as sharp as a flint arrow, and you have the always challenging "Point Blank." British film critics recently called this one of the 100 greatest films ever made and, you know, they're not far from the truth.
The story's fairly basic, as Marvin is double-crossed by his wife and best friend and left for dead on Alcatraz, of all places. The abandoned prison, closed in 1963, makes a nice locale for money drops. Slugs in his gut, somehow Marvin survives, rising from the ashes like a demonic Phoenix, stylish shoes loudly clacking down an endless hallway in search of prey. With grim determination, hate pumping through his veins, he circles his marks like a scythe-carrying specter. Not only does he wish revenge, he wants his money, in this case $93,000 owed him from the heist. This must be scissored from the talons of "The Organization," a thinly veiled Hollywood version of the Mafia, with gangsters adorned in stylish suits, flying to and fro on private jets, comfortably reclining on leather chairs in penthouse suites.
Marvin, at the peak of menace (his two prior films were The Professionals (Special Edition) and The Dirty Dozen), wades into the goons like a razor through hot butter. As Walker, oozing hostility and cynicism, he carves a trademark performance that will be known for as long as we remember him. A tough guy in real life - Marvin was a veteran of the Pacific - he had cut his teeth for years in villainous supporting roles, easily stealing scenes from the likes of John Wayne, Marlon Brando and Spencer Tracy. Standing next to him, these storied giants were milquetoast. You have the disorienting feeling in The Man Who Shot Liberty Valance, The Wild One and Bad Day at Black Rock, that he could easily pummel his better known co-stars if not for that irritating script. There was an uncomfortably evil spark in his eyes - part white trash and wolverine killer - that bubbled to the surface like scalding coffee served black (yes, a reference to The Big Heat). I think the fury was real, lacking in pretension, and never has a film fit an actor more comfortably.
He has great support from John Vernon (in his debut role) as the back-stabbing best friend, and the lovely Angie Dickinson, at the height of her considerable allure, as his sister-in-law. They have an enraged scene together, one of the most memorable in history, where she assaults him. Marvin dodges a few blows, but takes the brunt and rarely flinches. After roughly a minute, Angie drops to the floor in exhaustion, and they eventually fall into bed. It's one of the first moments in film history where a psychological connection is made between sex and violence, something Bonnie and Clyde has been given credit for, though ironically both films were released the same month.
I could go on, noting the hilarious scenes between Marvin and Carroll O'Connor, Marvin throwing a naked man over a balcony followed by the shot of teenage girls staring in disbelief, the peculiar flashback when Marvin meets his wife, surrounded by what appears to be a pack of aroused friends. Unlike its remake Payback, a vastly inferior film though with a fine performance by Mel Gibson, there's not a single predictable moment in "Point Blank." There's a rebellious creativity, combined with dadaist editing and neo-noir choreography. "Point Break" is unlike any action film ever seen before. Rarely has such a by-the-numbers screenplay been told with such an artistic eye, owing much to the experimental decade it was made. It's telling that after 40-plus years, "Point Blank" is still discussed and, most importantly, it's still very, very cool. Lee Marvin's greatest film, which says a lot.
Description of Point Blank
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