POINT BLANK (1967, Metro-Goldwyn-Mayer, Inc., USA, 92 mins, Colour, 2.35:1, Mono, Cert: 15, Crime Action Thriller) ∗∗∗∗∗
Starring: Lee Marvin (Walker), Angie Dickinson (Chris), Keenan Wynn (Yost/Fairfax), Carroll O’Connor (Brewster), Lloyd Bochner (Frederick Carter), Michael Strong (Stegman), John Vernon (Mal Reese), Sharon Acker (Lynne). James Sikking (Hired gun), Sandra Warner (Waitress), Roberta Haynes (Mrs. Carter), Kathleen Freeman (First citizen), Victor Creatore (Carter’s man), Lawrence Hauben (Car salesman).
Producer: Judd Bernard, Robert Chartoff, Irvin Winkler; Director: John Boorman; Writer: Alexander Jacobs, David Newhouse, Rafe Newhouse (based on the novel “The Hunter” by Richard Stark); Director of Photography: Philip H. Lathrop (Metrocolor); Music: Johnny Mandel; Film Editor: Henry Berman; Art Director: George W. Davis, Albert Brenner; Set Decorator: Henry Grace, Keogh Gleason; Costume Designer: Lambert Marks, Margo Weintz.
Adapted from Richard Starks’ 1963 novel this is the tale of a gangster (Marvin) seeking revenge on his partner (Vernon) who double-crossed him, stole his wife (Acker) and left him for dead at a money drop at Alcatraz. In his search Marvin finds his wife dead from an overdose and subsequently blows holes in the middle of organised crime with the help of his wife’s sister (Dickinson), who has also hooked up with Vernon.
Shot on location in San Francisco and Los Angeles – being the first to make use of the then recently closed Alcatraz prison – the story is a simple take on an oft-told story. But what elevates the film is Boorman’s vision – dialling up the psychological impacts on Marvin’s character working with editor Berman in introducing strobe-like flashback techniques to show the scars on Marvin’s psyche. A little disorienting and distracting at first, the cutting style increases in effectiveness as the film progresses and it is used more sparsely. Marvin is cold and clinical in his portrayal of a man driven by nothing more than the need for retribution, showing what a good actor he was when not being asked to ham up his own image. He is given strong support by Vernon, Dickinson and O’Connor. An excellent example of the experimental film making in the sixties it has grown in reputation over the years along with Boorman’s cult status as a director.
A further adaptation of Stark’s novel was produced in 1999 as PAYBACK starring Mel Gibson.