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Posted October 1, 2010
Film noir in the contemporary Sixties.
Although director John Boorman was not altogether happy about the script, adapted from Richard Stark's novel "The Hunter", "Point Blank" is an expertly made, fast-moving film, based on the theme of the individual pitted against the large, impersonal organization. Here the central character is an old-fashioned loner of a gunman (Lee Marvin) embroiled with a large-scale, corporate criminal operation behind a respectable-looking 'front'. Without delving into psychology or motivation, the film places emphasis on action and surface appearances, superbly capturing the glossy, depersonalized feel of a 1967 Los Angeles--a nightmare landscape of concrete, glass and coiling freeways. The film is notable for its violence and moments of black humor but chiefly original for its complex, episodic and dynamic structure--flashing backward and forward in time with a dazzling display of editing techniques. Boorman made a stunning American film debut by turning an ordinary gangster drama into a film of pulsating tension, knowing how to take a routine subject matter and give it a unique feel, a look all it's own. Lee Marvin is superbly cast as small-time hood Walker, out for revenge against his wife and the syndicate that left him for dead. It's also a pleasure to see Angie Dickinson getting the rare chance to project some genuine sexuality into an American movie. Considered a minor genre release at the time, it now has deservedly earned a reputation as one of the best films of the Sixties, an example of nihilistic violence that looks better with each passing year. [filmfactsman]Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.