Customer Reviews

Point Blank [VHS]

5 star:		(36)
4 star:		(19)
3 star:		(12)
2 star:		(4)
1 star:		(6)

 

 

Leave it to John Boorman to combine the stylized storytelling of French New Wave with American film noir in "Point Blank". This fascinating, challenging movie was made in 1967 when the film world was in the embrace of experimental film. Although it's quite different from "Blow Up", the storytelling style is just as stylized and unique. Lee Marvin plays Walker a criminal cheated out of $93,000 from a robbery of a mob like syndicate on Alcatraz by his best friend Reese(John Vernon). Participating in the heist/murder is Walker's young wife who has been having an affair with Reese. After getting the money, Reese shoots his friend, takes his wife and leaves him for dead on Alcatraz.

With the help of a mysterious benefactor (Keenan Wynn), Walker tracks down Reese exacting revenge in pursuit for what he's owed. When his wife commits suicide, Walker seeks out her sister Chris (Angie Dickinson)in hope of luring Reese out of hiding. From there this convoluted mystery spins more threads than director John Boorman knows what to do with but, surprisingly, he keeps the story from getting too tangled up.

Boorman and director Steven Soderbergh ("Ocean's 11", "Solaris", "Sex Lies and Videotape")provide a fascinating commentary track on the making of the movie. Boorman recalls that originally Lee Marvin wanted Peggy Lee for the role that Dickinson plays. While he went with Boorman's decision of Dickinson he wasn't very nice to his co-star which worked particularly during the scene where Dickinson starts hitting Marvin. Dickinson hit Marvin so hard he had bruises the next day but the actor stoically took the hits and the camera kept rolling. Boorman also discusses the stylized approach he uses in shooting the film including a sequence in Walker's deceased wife's apartment that where the body disappears in an almost dream like sequence, the furniture disappears and Marvin's clothes change. The studio was so concerned when it saw the first cut of this sequence it hired a psychologist to come talk to the director.

Featuring a stunning transfer from Warner Home Video and a nearly perfect brand new print of the film, "Point Blank" looks sharp with vivid colors. The mono soundtrack with some of its unusual sound effects (the sound of Walker's feet providing a percussive element to one sequence in particularly)also sounds remarkably clear. There's also a two part promo featurette "The Rock" which focuses on the shooting of the movie on Alcatraz (it was the first movie shot there since the prison closed in 1963 and had been turned into a state park). Using San Francisco, Santa Monica and Los Angeles as a backdrop, the film features stunning cinematography. If Don Siegel had watched the French New Wave prior to making some of his noir laced thrillers, this is what it might have looked like.

Remade with Mel Gibson as a more traditional looking thriller called "Payback", "Point Blank" features Marvin in one of his most stoic, powerful and grim performances. His character of Walker leaves a trail of dead bodies without remorse or regret in pursuit of what is rightfully his. Unlike a lot of films that incorporated the surreal touch of the French New Wave (such as Truffaut's "Shoot the Piano Player" or any of Goddard's films), "Point Blank" has aged remarkably well with Boorman's stylized use of sets, camera set ups, flasbacks, etc. suggesting what's really going on inside of Walker's head. There's also a suggestion that maybe Walker didn't survive (particularly during the last sequence)and that "Point Blank" represents the dying delusion of a man thirsting for revenge. A marvelous film filled with many, many levels, this classic thriller does not have a straight forward narrative so if you're expecting a realistic film noir or story, you should look elsewhere.

This review is for the Warner Brothers DVD released in 2005.

`Point Blank' starts out in an abandoned Alcatraz Prison circa 1967 where Walker (Lee Marvin), his wife, and Mal Reese (John Vernon - probably best remembered as Dean Wormer in `Animal House') rob an apparently illegal money payoff. Once the money is counted, Reese shoots Walker in a prison cell leaving him for dead and takes Walker's $93,000. Walker recovers from the shooting and with the help of a stranger named Yost (Keenan Wynn), Walker finds out that Reese and Walker's wife ran off to Los Angeles and Reese is now a big player in a major crime syndicate. This sets up the rest of the movie where Walker hunts down Reese but also wants all of this $93,000 back.

The movie is clearly dark in mood and substance, even though it was filmed in vibrant color. Angie Dickenson plays the role of Walker's sister-in-law Chris, who helps him find Reese. The chemistry between Chris and Walker seems overtly empty and melancholy. An animated Carroll O'Conner (best known for playing Archie Bunker in 'All in the Family') brings a lot of energy to the last segment of the movie. The film has an unmistakably late `60's look with fast and chaotic flashbacks and over-accentuated sound effects - such as loud, reverberating footsteps when an intensely focused Lee Marvin is hunting down Reese. This movie is more sexual and violent than noir films of the `40's and `50's, but is still restrained by today's standards. The film's biggest asset is how Lee Marvin confronts and handles his adversaries - each situation is original and effective, but not over the top. The plot as a whole has very few major surprises, although there is one minor twist in the end. Overall, it's an extremely good movie, but not a great one, but I still strongly recommend it.

As for the DVD, the transfer is superb. The picture quality is free of even the tiniest of flaws and the color is bright and vivid and the sharpness is terrific for a film this old. The audio is also excellent. There is option real-time commentary by director John Boorman and filmmaker Steven Soderbergh, plus two short features, both made when the film was being shot in the late `60's entitled the Rock Part I &II. These two documentaries deal with the filming of the scenes on Alcatraz that were used in `Point Blank'. Part II also contains a short interview with a former prisoner who did time on "The Rock"..


Movie: B+

DVD Quality: A+

Mr Marvin is at his best in this noirish movie. He has the best walk, the biggest gun, and a mind as sharp as a cut-throat razor.He's out for revenge because he's been betrayed by his BEST FRIEND and HIS WIFE. LOOK OUT! But there is much to admire and enjoy in all the bit parts, and especially the recurring images of glass, and cleanliness in this all too alien urban landscape. The one act of human tenderness by our anti-hero is committed in an apartment which has been completely trashed. An interesting document of the sixties as well as an entertaining film.

In this 1960s tale of an ex criminal seeking his share of the proceeds of a heist on Alcatraz is absorbing to say the least. Boorman is at his best in this noir classic which comes to life via the standout performance of Lee Marvin which while reminiscent of his role in the earlier The Killers which saw him excel with sidekick Gulager this time he plays the lone avenger brutal and uncompromising in his quest for justice as he sees it.Ably supported by good pal Keenan Wynn as agent provocetuer Marvin again shows us his abundant talent when playing such roles. Marvin stood head and shoulders above the pack during the 60s in playing the bad guy with a point to prove and he had an edgy quality that others tried to emulate but never duplicate.He had other notable performances in later years with Paint Your Wagon being the stand out but to my mind he will be better remembered for his work in the 1960s which includes his top shelf role in The Dirty Dozen which sadly never reaped him the rewards it should have but at least gave Marvin devotees another classic to revel in. Point Blank as the Killers before it no doubt had some bad press in some quarters due to the violence of the plot which I think overstates this issue. The violence was integral to the plot as with the Killers and as such has to be viewed accordingly. When looked at now in retrospect the violence when compared to later movies was relatively tame. Marvin played his roles as freewheeling and uncompromising as he lived his life generally and it gave his performances that added touch of reality and believabilty which many of his peers failed to produce often appearing wooden in comparison. Marvin was a one off talent the like of which sadly we may never see again. In short Point Blank like all Marvin efforts is a stand out. A notable supporting role included Angie Dickenson who joined Marvin no doubt as a result of their roles in the Killers and gives a good account of herself in a challenging role. One could never say Dickenson was simply eye candy as she showed in many good performances in the 70 and 80s and was a good foil for a rampant Marvin in this role as he tracks down the bad guys and eventually finds he has been the tool of a devious manipulator all along who uses Marvin to wipe out his opposition in the organisation hierachy. The ending of the film is brilliant in that it removes the almost inevitablity of the principle story line and leaves us at Alcatraz without knowing whether Walker took his money or not. This added another touch to what is a good uncomplicated fast moving script well suited to a winning performance by Marvin. The main setting chosen for the movie namely Alcatraz also gives that edgy feel so often associated with Marvin films. A classic for the Marvin buffs.

No, it's not full of Raymond Chandler style simile's. No, there's no voiceover. There's no Bogie or Bacall, but Lee Marvin is more believable taking on the syndicate in this movie than Bogie could ever be. And Angie Dickinson serves quite nicely as replacement eye candy for Lauren Bacall, thank you. The soundtrack is very good, too.

The depiction of the corporatized mob is also brilliant. Carroll O'Connor is excellent as the surprisingly energetic mob middle manager.

I saw an interview with Schlesinger in which he said that Lee Marvin completely improvised his silence in the scene where he meets up again with his girlfriend. He was supposed to say some fairly standard things ripping her for leaving him but decided it'd play better not saying a thing. It does.

Do not EVEN think you have seen this film if you have only seen it in a "pan and scan" version. This is one of the most meticulously composed ultra-wide Panavision pictures you are likely to see, and it's excruciating to see half the frame lopped off. Other reviewers have said this film seems modern, which is to say current. Fortunately, the wardrobe was kept pretty low-key for the year, 1967, which helps enormously. (Take a look at "Taxi Driver" if you want to cringe at some clothes.) If a person can have a single favorite movie, this is mine. I encountered John Boorman at a sneak of "Excalibur" when it was released, and gushed all over the poor man about "Point Blank". I think this was only his second feature, and given the path his career took afterwards, this film is really an aberration; he never did anything like it again. "Point Blank" was ignored when it was released (everybody was out seeing "Bonnie and Clyde" ;-). People couldn't stop talking about Antonioni's "Blow Up" (which came out at about the same time), asking "What did it mean?" Same here; I have no idea. See this movie.

It's about time this movie got released on DVD.

It's odd that a film could spawn a remake ("Payback"), a glib nod ("Grosse Pointe Blank") and countless homages ("The Limey," among others) and still be as underseen as "Point Blank."

The lack of a disc certainly didn't help its low profile, but of course this is a challenging, idiosyncratic movie, even three decades later. The plot is simple -- a crook is betrayed by his wife and partner and spends the rest of the movie trying to get what he's owed -- but the editing and narrative structure is unusual. What in the world did audiences possibly make of this back when it was first released?

It's a remarkable film, as startling and innovative as Richard Lester's "Petulia," although admittedly it's thematically much less complex.

This edition is excellent, too. Great sound, great picture and a fantastic commentary by director John Boorman and big-time "Point" fan Steven Soderbergh, who laughingly admits to Boorman that he's ripped this movie off more than a few times. Their chat is more technical than gossipy and deals heavily with the editing, the production (the script was only 70 pages long), the studio's concerns about the picture, the actors, violence, surrealism (is it all a dream?) and Boorman's elaborate use of color (the tones of clothing and sets intensify over the course of the film).

I've gotten a lot of good DVD's this year but in terms of content, presentation and extas, this is one of the best.

Taciturn tough guy Lee Marvin playing career criminal Walker speaks volumes with his silence and scowls in the 1967 psychedelic era action thiller "Point Blank". Double crossed, shot and left for dead in the desolete Alcatraz prison during a heist by his unfaithful wife and best friend Mal Reese played by John Vernon, he somehow survives.

Resurrected he endeavors to recover the $93,000 that was his share of the Alcatraz robbery. Vernon it seems was indebted to an organization to the tune of $150,000. The organization spearheaded by suave Lloyd Bochner and the earthy Carroll O'Connor maintains a fortress like apartment complex in Los Angeles with Vernon ensconced in it's penthouse.

Aided by sister in law the sexy Angie Dickinson, Marvin savagely battles his way up the hierarchy of the organization to get his money which they are reluctant to give up. He gets tipped off to the wherabouts of the heads of the organization by lawman Yost played by Keenan Wynn.

Director John Boorman crafts a modern day taut film noir type thriller which is sleek and streamlined and effectively utilizes the tenacious personna of Lee Marvin.

John Boorman's first "American" film, Point Blank still influences filmmakers, such as Martin Scorsese, to this day. Lee Marvin, in one of his best performances, stars as Walker, a man who seemingly comes back from the dead to seek revenge on the friend who betrayed him and recover the 93 grand that he was cheated out of. Walker is pure momentum, a relentless driving force that is virtually unstoppable. He acts almost like anti-matter, his mere presence on the scene causes the world around him, and the people in it, to fall apart. John Boorman based his concept of the character on Lee Marvin's screen persona and certain aspects of his real personality. Angie Dickinson is transcendentally HOT, John Vernon makes his screen debut, Keenan Wynn and Carol O'Connor do great work. Point Blank has a unique, modernistic style all its own - part Antonioni, part Kiss of Death, part science fiction ghost story. Current action films pale in comparrison. Stay away from the crappy remake starring Melvin Gibson and watch POINTY BLANK instead. "You're a very bad man, Walker!"

Released in 1967, "Point Blank" bridges the gap between the neo-noir films of the late 1950s and 1960s that mixed elements of classic noir with social conscience filmmaking and those of the 1970s, with their disillusioned protagonists and increasing explicitness. Walker (Lee Marvin) was a cool, competent crook, convinced by his old friend Mal Reese (John Vernon) to help heist money from some other crooks on Alcatraz Island. But Reese shot Walker, left him for dead, and took off with Walker's unfaithful wife Lynne (Sharon Acker). A year later, Walker wants revenge, he wants Reese dead, and he wants his $93,000. A mysterious mobster (Keenan Wynn) who seeks control of the criminal syndicate of which Reese is a part is happy to facilitate Walker's vendetta.

"Point Blank" was director John Boorman's first color film, and he made good use of the palette, often dominating scenes with a single hue. Although it basically has a continuous timeline, the film takes brief excursions back in time, uses some slow motion photography, and, at one point, confuses us with images that exist only in Lee's mind, if at all. This was pretty risky for a studio film in 1967, and it works well. The fact that Walker is as much a criminal as his enemies is forgotten in a world where everyone is corrupt. Lee Marvin is great at this stoic, fixated kind of masculinity, but he does seem conspicuously old for the women Walker attracts. "Point Blank" is one man's revenge-driven journey, made memorable by so frequently doing the unexpected.

The DVD (Warner Brothers 2005): There are 2 featurettes, a theatrical trailer, and a feature commentary. "The Rock, Pt 1" (8 min) and "The Rock, Pt 2" (9 min) are promotional films made in 1967 about the Alcatraz location. "Point Blank" was the first film to use the abandoned prison, just 4 years after it closed. The documentaries talk about using the prison as a backdrop, interview the director, and interview a former inmate who recalls the 1946 Battle of Alcatraz. The audio commentary by John Boorman and Steven Soderbergh is very good. Soderbergh questions Boorman on various aspects of the film, including the script, structure, collaboration with Lee Marvin, technical details, and interpretations of the film. Subtitles are available for the film in English, French, and Spanish. Dubbing available in French.