Episode 160 - Point Blank

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Welcome to the ned Paultin.
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Hello, and welcome to the special one hundred and sixtieth
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episode of Missing Frames. I am your host, Sean Eastridge,
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and we are celebrating ten years of Missing Frames right here,
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right now. I started November twenty sixteen, and now we're
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in the summer twenty twenty six It's glorious, it's wonderful.
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And because we're hitting another big milestone episode, we are
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bringing back Brad Gulliksen. Brad, welcome back to the show. Hello, Hello, Hello,
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and I went back. I dug through the archives. You
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realize we started almost ten years ago. It was January
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twenty eighteen. Our very first episode was episode thirty Dirty Harry,
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which is what you introduced me to.
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Don't start saying that was almost ten years ago. That
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can't be. It was like two years ago.
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That's what I would love to believe myself. And it's
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it's scary, it hurts everything. COVID just it was we
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got sucked into a black hole. I remember we went
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to Sun Dance January twenty twenty, and then every time
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just became an illusion. After that.
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Yeah, like yeah, I like, who was I in twenty eighteen?
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I don't know somebody who wanted to introduce me to
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Dirty Harry.
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Yeah, yeah, well, I you know, I don't want to
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talk about the movie that we're talking about today just yet,
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but I do think it's fitting that, you know, our
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journey together on Missing Frames began with Dirty Harry, and
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now we're continuing it with another movie that celebrates masculine energy.
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I love it.
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I love it so much. We've had a wide variety
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of films because we it started accidentally, like your first
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episode was episode thirty, and then I think it just
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so happened that I had you back on for episode
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forty and I introduced you to my neighbor Totoro, And
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I think at that point we sort of realized, like,
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wait a second, are we just going to do this
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for the rest of time, for the rest of Missing
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Frames existence? We need to keep this trend going. So
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it's been thirty forty, fifty sixty we've kept it going
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since your first appearance. We've done My Neighbor Todoro, the Graduate, Buckaroo, Bonzai,
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we did a Big Trouble in Little China. So many incredible.
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Films tails from the cript Demon Nights, Oh yes, and
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all of the Seal Cinema, Paradiso, Yes, Yes, Escape from
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New York, Escape from La Can you tell which ones
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Brad picked?
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We always trade off. It's always like, this is a
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movie Brad really loved, This is a movie Sean really loved.
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It is so much harder for me to find movies
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that you haven't seen. For you, you've like almost everyone.
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It's like, have you seen that? Nope, all right, we're
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doing that.
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And I've consumed almost all of Seteba's.
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It's incredible and it's an inspiring thing, and you've you've
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genuinely introduced me. It's so funny. I haven't gone back
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and listened to some of the episodes, but there are
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episodes where I think maybe I was lukewarm on the film,
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and then like throughout the course of the episode, I'm
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realizing as we're talking that I'm like, no, this is
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gonna be something.
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Give me some examples, give me some examples, give where
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you lukewarm on. But now you're like, man, that's that's genius.
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I think Big Trouble in Little China was one that
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I was and I don't even think I was lukewarm
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like I think at the time I given it you like, yeah,
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I really enjoyed it, and I think I gave it
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three and a half or something, and now that's like
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maybe a five star movie.
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Yeah, But then you know, we watched In the Mouth
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of Madness with John Mills, and it turns you into
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a carpenter head exactly.
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But I think you and John like were the two
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carpenter guys in my life, and we talked about it
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in that episode. I think you guys kind of like you.
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I was sort of like dipping my toe in the
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carpenter waters and like, okay, okay. I I think maybe
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because we'd watched Escape from New York and Escape from
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La and then I think In the Mouth of Madness
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was like the floodgates opened, and so I went back
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and watched all of those movies again.
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And now you're like the Ward with Amber Heard is
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so good guys, the best guys, so underrated.
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But bringing it back to this episode, the last one
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we did episode one fifty, which was about a year ago.
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We did Paprika, which is one of mine, and now
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we're doing one of yours. And Brad, what is this
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film that we're watching today? For episode one sixty.
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We are watching John Borman's Point Blank, starring Lee Marvin
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and based on Richard Stark's The Hunter.
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I know nothing about this movie. I don't think I've
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seen a John Mormon film.
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You know, MO movie. Oh, come on, you've seen John.
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You've seen Deliverance? Right? No? Oh man, have you seen Excalibur? Nope?
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Oh man, have you seen Exorcist to the Herrit?
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I have absolutely not seen that.
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Uh, well, you probably haven't seen. Oh my gosh, what's
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the other Lee Marvin Tosher Mafune movie, Helen the Pacific.
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What if I was like, oh, no, I've seen that. No,
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I haven't seen that.
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You know, Helen the Pacific is Enemy Mine? Have you
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seen Enemy Mine? With Dennis Quaid and Lugasa Jr.
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I haven't seen any of them.
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Okay, well that's not directed by John Borman, but that
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is a science fiction remake of Hell in the Pacific.
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Helen the Pacific is about an American fighter pilot and
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a Japanese fighter fighter pilot crash landing during World War
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Two on an island and having to live together.
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Oh that's great.
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I love It's great. Tosher Mafue Marvin, Oh my god,
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it's the movie they made, right, after point Blank. Point
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Blank is John Borman's big intro into Hollywood. Oh, Zardas,
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You've got to have seen Zardash.
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But that looms, the legend looms large. That's when we
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should put on our alls.
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I'm hoping that point Blank opens the John Borman floodgates
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for you.
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I'm okay with that. I'm fully prepared for that to happen.
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But like, I literally, like I can't even tell you,
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I can't even wax poetic about this movie because I don't.
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About Richard Stark novels. Uh, you know, Richard Stark being
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the pseudonym for Donald Westlake.
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No, no, I don't know anything, Okay.
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So basically, like when Donald Westlake, the mystery writer, when
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he was feeling mean, when he was in a dark mood,
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he would adopt the pen name of Richard Stark and
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he would write a Parker novel. And The Hunter was
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the first Parker novel, which point Blank is based on,
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although at the time, Westlake wouldn't allow the adaptations to
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use the name Parker, so they had to change the
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name to Walker in this one, and other Parker novels
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have been adapted. Robert de Vaal was in a movie
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called The Outfit, which is also pretty darn good. Mel
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Gibson did, Actually, mel Gibson did The Hunter again and
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he was Walker in that as well, the pay and
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that was called Payback. Okay, yeah, the Payback is not great,
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but the director's cut of Payback is pretty fantastic if
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you can get past the mel Gibson of it all.
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Jason Statham was the first actor to officially play Parker
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in the movie Parker with Jennifer Lopez, and that movie
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is trash, don't watch it, okay, but I like, I
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love the Parker stories. Parker. Well, shit, I'm not going
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to tell you who Parker is because I do want
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you to go in pretty fresh yeah movie.
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Oh yeah, I'm not kidding when I say like, I'm
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totally I'm a point blank slate, Like I don't know
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anything about this film. I looked at the poster and
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that was it. So I'm like, okay, I know this
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is like you said, it's some kind of maybe not
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a rogue cop, but like again thinking dirty Harry connecting
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the dots to our first episode that we did maybe
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something along those lines. He's that kind of character.
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Yeah, that's interesting, that's interesting. Ok The film comes out
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in nineteen sixty seven, the late sixties. This is one
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of my favorite eras in cinema. You know, this is
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a year before planning of the Apes, which we just
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talked about with the franchise boys. This is, you know,
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a year before two thousand and one of Space Odyssey.
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I think if you're a real film nerd, especially a
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real film nerd filmmaker, this film was incredibly influential. You know.
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Steven Soderbergh does an amazing commentary track on this movie
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with John Borman. If you have the Criterion edition that
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just came out, but it was also on the original
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DVD Blu ray of Point Blank. It's fantastic. I highly
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recommend listening to that. And then if you watch Steven
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Soderberg's movie The Limey, it is not a remake of
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Point Blank, but stylistically it is a remake of Point Blank. Okay,
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and The Limey is fantastic too.
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Soderberg is another blind spot in my in my you know,
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you see like Oceans eleven and Out of Sight, I've
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seen I've seen Oceans eleven. I've seen those three films,
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and I don't think I've seen any other shows.
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You haven't seen that site? No traffic.
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I own Traffic and I've owned it for years. Sex
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lies and videotape I've owned for years. I haven't watched them.
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What about Aaron Brockovich.
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No, okay, So this is it sounds like there's a
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connection here that I'm starting to see where it's the.
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Next ten years of missing frames planned out between John
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Borman and Steven Soderbergh.
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I'm okay with that because these are both filmmakers that
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I mean, Soderberg I know more about than Borman, but
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I'm like very interested in finding out.
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John Borman, you know, a British filmmaker. He really cuts
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his teeth making documentary television and documentary films. His first
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movie is kind of a film that's trying to do
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a hard Day's Night but with the Dave Clark five.
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What is that movie called? Let me pull it up
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real quick.
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It's not great.
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It's called catch Us if you can. Came out in
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nineteen sixty five, but that movie did catch the attention
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of certain people and he was kind of like pinpointed
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as being like, oh, this guy is gonna be like
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the next big thing. And when Lee Marvin, you know,
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saw his work and then got a hold of the
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script for Point Blank. He was like, Okay, I want
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to work with this guy. And what's interesting about point
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Blank is that Lee Marvin himself helped make point Blank
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a reality. Okay, so this is like the introduction of
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a really powerful filmmaker in John Borman, and it's Lee
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Marvin at a really interesting point in his film career
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and you know, trying to gain more autonomy in the
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filmmaking process.
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Okay, are Marvin guy? I am not, like again very
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much a blind spot? Is it kind of like, oh
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my god? Why am I? Why am I blinking? Kirk Douglas?
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Is it kind of like what Kirk Douglas was doing.
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The fifth Kirk Douglas was the real deal?
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Okay.
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You know, Lee Marvin is a World War Two vett.
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He you know, got shot in the ass, has purple
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has a purple heart. You know. He starred in the
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movie The Big Red One, directed by Samuel Fuller, which
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is a great World War two movie but with no budget.
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Like if you look at the storming of Normandy during
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The Big Red One and compared to like Saving Private Ryan,
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it's laughable. But the ideas in the Big Red One
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are incredible, And because Lee Marvin was a genuine World
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War Two vet and Samuel Fuller was a World War
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two vet. He did storm the Beach in Normandy. And
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here are two vets making a World War two movie
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that's nuts and telling it in a slightly cynical way,
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like it comes out in nineteen eighty. We've gone through Vietnam.
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This is not the movie about like the Greatest generation.
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This is like, look at the real awfulness of war,
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even in quote unquote the Good War.
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Yeah.
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So yeah, like, oh man, we have mapped out missing
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frames for the twenty first century.
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Yeah, all of this I'm very excited about. And I
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would like, I like, I can't even tell you what
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I think the movie is about, honestly, Like that is
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my guess at what the story is about. You know,
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normally before we watch, the person who hasn't seen the
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movie tries to guess what it's about, what the plot is.
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I feel like this is unfair for me to skip it.
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I'm not gonna. I've put people through so much.
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I mean you started to do it a little bit already.
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Yeah, I mean that's my guess is it's like, Okay,
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this kind of like down on his luck cop who
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is tired of fighting within the system starts to go
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outside of the system a little bit, and he is
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a little grungy. He's maybe the like he's uh seasoned,
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but he's now he's bitter. He used to be maybe
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he used to be an optimist.
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He's now he's like title point blank invoke with you.
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It means that this guy is he's a straight shooter.
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He does not miss. He is he knows, he knows
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how to shoot a gun. There's aggression to it, right, yes,
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and he's not going to like shoot. It's aggressive. Yes,
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it's an aggressive title, like the Guy. The Guy does
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not take any crap.
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And I think it's interesting that the title is point
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blank and not The Hunter, which is what the novel
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was called.
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Right, And I think I mean that makes sense. I
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could see a Hollywood exec saying, like the title, we
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got to change the title and point it's like, oh,
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point blank what it evokes like what we're talking about,
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Like it evokes that feeling of like action and their
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guns and it's you know, it's more gun shootouts and
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crazy action and stuff. Like I could see them saying
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that's a more attractive title, The Hunter.
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What is it? Does he shoot?
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Does he go to the forest and shoot deer? What
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does that mean? So I get that. And then as
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far as Borman's career, this kind of launched him. You're saying, like,
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so he'd kind of done documentary films. Is this his
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first narrative? Yes, okay, gotcha. So that's gonna be interesting too,
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because I love I love seeing especially a filmmaker who
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kind of cut their teeth doing like Danny Boyle with
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music video or David Fincher with music videos. Although his
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first film it's a little a little bit of a disappointment,
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Alien three, But it's always.
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That's interesting though, because like it Em three is trying
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to do things visually that are very of the moment,
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but not necessarily of the franchise exactly.
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So I'm I'm always, I always really enjoy seeing a
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film maker who was kind of in one lane then
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taking the leap and going to the other lane, and
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what came from their experiences and the like. And even
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like you referenced a hard day's night, I don't think Lester,
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Richard Lester, he was doing.
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Like Goosey, director of Superman three.
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Yes, the fame director of Superman three, but he was
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not doing like he was doing kind of like kooky
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British comedy like goose stuff. And I don't know if
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he was I don't know if he was doing documentaries,
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but like A Hard Day's Night, the energy of that
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film is very documentary esque.
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And yeah, like I would have you thinking about the
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late sixties and uh, you know, the the changing of cinema.
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You know, we talked about the Graduate, right, think about
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Easy Writer, think about two thousand and one Space Odyssey,
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think about the Stargate when you're watching point blank?
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Okay, interesting, all right, Yeah, I have no idea what
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to expect, so that as far as the premise goes
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like this guy, I don't know, maybe like he's taken
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revenge or maybe it's just like a French a French
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connection thing where it's just like Gene Hackman's character, is
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this like terrible racist, like kind of dirty cod Well.
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I think like that's all interesting. You know again, like
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we've talked to you know, I said, like it has
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the masculine energy to match dirty Harry. I think the
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French connection can fall into that as well. So there
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are some like problematic elements. When you're talking about a
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very man's man movie made in nineteen sixty seven, it's
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not going to be for everybody, and with good reason.
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Yeah, but I'm excited to watch it, Like, I think
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I'm gonna enjoy it. And I'm very curious because again,
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many many blink spots on my film lover what checkbox
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the cue, Like, there's a lot of stuff I'm checking
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off with this movie. So I feel like I'll enjoy it.
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I think it's going to be a very interesting watch.
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It was not on my radar at all until you
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suggested we watch it.
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So she just came out with a Criterion disc, so
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it's now in the collection.
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So now it's legit. Now it belongs on the same
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shelf as Godzilla versus Beolante. It is on that level now.
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So Deliverance, though I know you haven't seen it. Yeah,
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but that's probably like the most culturally significant John Borman movie. Yes,
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do you know anything about Deliverance.
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I know about some of the big moments in Delivery
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You know about the scene, Yeah, I know the scene. Yes,
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I also know as a ned Baby fan having Oh yeah,
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odisburg as Otis and Superman. I'm sure, his Deliverance performance
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is probably very similar.
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If all you know about Deliverance is squeal like a pig,
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I encourage you to watch that movie because it's a
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lot more than that scene.
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Okay, great, well I do want to see that too.
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So maybe this will be just like with John Carpent
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or another John. We're gonna be doing it with John
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Borman as well.
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We're I'm not as confident that you are going to
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love this movie the way that you loved in them
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about the madness, Okay, I think there's a strong possibility
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that you watch this and you go like it just
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didn't do it for me.
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Bread Sure, some movies from this era are like that
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where I enjoy you know, and Easy Writer is a
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good mention because and I need to watch it again.
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I watched it in college, and it's been maybe twenty
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years almost since I watched Easy Writer, and I remember
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just kind of like, no, this is not for me,
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kind of like them. It felt like, did these guys
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just discover a camera? They just discovered the zoom lens?
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Like I think Easy Writer is a cinematically historically significant movie,
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but for me, at my taste level, I watch it
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as a curiosity, not as an enjoyment. Yeah, but I
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don't think that's point blank. I think point blank is
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a total blast.
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Gotcha. Okay, So I was gonna say this kind of
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new wave of American cinema is I don't want to
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say hit or miss, because I don't know that I've
355
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seen enough. But a lot of the like two thousand
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and one, The Graduate, all of these films that we've referenced,
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like those are incredible films. But there are things like
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Easy Writer, where it's like the low budget, kind of grungier,
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more gorilla style filmmaking where these guys just literally picked
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up a camera and were like.
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Yeah, so this is not gorilla style film, got it?
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This is very like a very assured hand got but okay,
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fer mental.
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Okay, I'm into that. I'm into that, and I'm excited
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to see how it goes. So let's do it all.
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Let's make it happen.
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Now available to own non video cassette.
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Okay, we're back. Brad, first and foremost, I will not
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leave you in suspense. This is an excellent film, and
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I am glad to say your streak. You've got a
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hot streak going. I think both of us have yet
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to introduce each other to a movie that we flat
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out did not like, which I think speaks to just
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how brilliant we are as probably because I think I
375
00:20:24.079 --> 00:20:26.519
think the biggest wild card you threw me was probably
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Demon Night.
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We're not counting Halloween three.
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Halloween three doesn't count. No, that wasn't an anniversary episode.
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I don't think that's true. That's true. That was another episode.
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00:20:36.640 --> 00:20:39.279
But I do recall you not loving Halloween three the
381
00:20:39.319 --> 00:20:41.839
way we do. Yeah, that's a shame.
382
00:20:42.160 --> 00:20:45.440
But I think you throw me a couple wild cards.
383
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I think Demon Night probably takes the cake. But I
384
00:20:48.759 --> 00:20:52.359
don't think I've thrown you anything completely nuts. Have I
385
00:20:52.359 --> 00:20:54.799
I think might be the weirdest thing I like.
386
00:20:54.839 --> 00:20:58.079
I think Papa was the one I was the least
387
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strong on. But I don't think I would say that
388
00:21:00.279 --> 00:21:03.200
Paprika was a bad movie by any means.
389
00:21:03.599 --> 00:21:06.519
Yeah, I uh, well, point Blank is one of the
390
00:21:08.920 --> 00:21:11.640
every movie you've shown me is interesting. I think point
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00:21:11.720 --> 00:21:15.359
Blank is interesting in the way it is one hundred
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percent not what I predicted, which I think I was like,
393
00:21:17.759 --> 00:21:20.480
it's a cop on a revenge kick. It's a revenge
394
00:21:20.640 --> 00:21:22.920
it's a revenge film. But he's not a cop, he's
395
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a criminal. But it is on paper a completely kind
396
00:21:27.000 --> 00:21:30.799
of straightforward revenge flick, like this guy was left for
397
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dead and he's back and he's gonna kill everybody. And
398
00:21:34.519 --> 00:21:36.319
you read the premise and you think like, Okay, I
399
00:21:36.359 --> 00:21:39.960
know what this movie is. And the film primarily I
400
00:21:39.960 --> 00:21:44.400
think due to John Borman's direction and Lee Marvin's indulging
401
00:21:45.000 --> 00:21:48.759
of Borman's vision and complete support of that vision, it
402
00:21:48.839 --> 00:21:53.359
becomes like, I don't want to compare it in an
403
00:21:53.400 --> 00:21:56.119
apples to Apple's way, but it kind of reminded me
404
00:21:56.279 --> 00:21:59.119
a little bit of a film I don't love, which
405
00:21:59.160 --> 00:22:01.319
is uh Nicholas Rays, Don't Look now.
406
00:22:02.480 --> 00:22:03.640
Yeah, yeah, yeah, yeah.
407
00:22:03.720 --> 00:22:07.880
There are some similarities in terms of the film is
408
00:22:09.160 --> 00:22:12.200
it is surreal, and it is taking kind of a
409
00:22:12.240 --> 00:22:15.319
well worn idea and saying, now, let's see what we
410
00:22:15.440 --> 00:22:20.359
can do with cinema, with cameras, with editing. Yeah, things
411
00:22:20.599 --> 00:22:21.759
tell this story in a way.
412
00:22:21.839 --> 00:22:27.160
There's some really wonderful metaphorical editing happening throughout this movie
413
00:22:27.799 --> 00:22:31.440
that you either love or you go I don't get it.
414
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And when I was rewatching the movie this morning, while
415
00:22:35.279 --> 00:22:38.279
I was drinking my coffee, like just with it, like
416
00:22:38.319 --> 00:22:42.240
the first ten minutes, you know, after the heist has
417
00:22:42.279 --> 00:22:46.319
gone wrong on Alcatraz and he is like stumbling his
418
00:22:46.440 --> 00:22:50.000
way out of the prison during the credits and you're
419
00:22:50.000 --> 00:22:53.480
getting like these little tableaus, you know, We're like, there's
420
00:22:53.519 --> 00:22:55.960
that beautiful shot where he's like trapped on the barbed
421
00:22:55.960 --> 00:22:59.920
wire fence. He's not moving at all, and I'm like,
422
00:23:00.160 --> 00:23:03.440
is this this might be too weird for Sean. I don't,
423
00:23:04.359 --> 00:23:05.720
but this is an odd movie.
424
00:23:05.880 --> 00:23:08.880
At the same time, it is uh, you know, for
425
00:23:09.000 --> 00:23:13.279
lack of a better term, Lynchian almost yeah, you know,
426
00:23:13.480 --> 00:23:16.079
I love me some David Lynch. That there is a
427
00:23:16.279 --> 00:23:20.519
dream like quality to this film or that like the
428
00:23:20.680 --> 00:23:25.400
dream nightmare, whatever your vibe is. And it's not full on,
429
00:23:25.640 --> 00:23:29.920
full blown nightmare David Lynch, but it is surrealist and
430
00:23:31.200 --> 00:23:36.000
it is keeping the viewer on their toes where you're
431
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kind of like, I think I know what's going on,
432
00:23:38.039 --> 00:23:41.640
but is this actually happening? Wait a second, he walked
433
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into this apartment to see his wife or ex wife,
434
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and now.
435
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She's over here, doesn't now into the apartment sequence. That's
436
00:23:53.079 --> 00:23:55.920
the moment where I was like, Oh, I love this
437
00:23:56.079 --> 00:24:00.359
movie because he has escaped from the prison. He's had
438
00:24:00.400 --> 00:24:03.880
some conversation with Keenan Win. Keidan Winn wants, you know,
439
00:24:04.160 --> 00:24:06.480
to use Walker to get into the organization. Blah blah
440
00:24:06.519 --> 00:24:10.359
blah blah blah uh. And then we get this this
441
00:24:10.880 --> 00:24:17.079
gorgeous moment of Walker charging through lax that corridor and
442
00:24:17.160 --> 00:24:20.680
so good his feet clap clap, clap, clap, clap, clap,
443
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clap clap, and then he's in the car, but the
444
00:24:22.880 --> 00:24:25.720
clap clap clap is continuing, clap clap, clap, and he
445
00:24:25.839 --> 00:24:29.400
is just like a bullet aing directly at his ex
446
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wife or I guess it's not his ex wife. His wife.
447
00:24:33.160 --> 00:24:36.200
They're still married, we're still buried. But he's ain't like
448
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a bullet right at her. And we're hearing that clap clap,
449
00:24:38.839 --> 00:24:42.960
clap clap, And then suddenly he's through the door and
450
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he's grabbed her. He's thrown her to the ground, and
451
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then he storms into the bedroom and empties out his
452
00:24:49.039 --> 00:24:51.680
gun into the bed. Like we're like ten minutes in
453
00:24:51.759 --> 00:24:54.680
the movie, maybe eight minutes of the movie. Yeah, And
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that's when I just knew this isn't what it is
455
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on paper. This is something interesting that was for me
456
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the same thing.
457
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It was the moment where I was like, I am
458
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I like what you're selling, I like what you're giving me,
459
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And it was just that I.
460
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Love and it.
461
00:25:12.880 --> 00:25:16.480
You know, you talked about kind of the stylistic vibe
462
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of the film. It is in your face, and I
463
00:25:19.319 --> 00:25:21.519
think we discussed Easy Writer, and I don't want to
464
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speak too much to Easy Writer because I haven't seen
465
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it in about twenty years, and I remember Easy Writer
466
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annoying me with its kind of gimmicky editing and transitions
467
00:25:30.759 --> 00:25:34.359
and the way it approached its story if you could
468
00:25:34.400 --> 00:25:34.839
call it a.
469
00:25:34.839 --> 00:25:38.359
Yeah, like Easy Writer is really adapting like the French
470
00:25:38.440 --> 00:25:41.359
New Wave. Yes, the way like the Graduate is and
471
00:25:41.400 --> 00:25:42.759
the way that point blank is.
472
00:25:42.880 --> 00:25:45.759
Yeah, but I think point Blank in the Graduate they
473
00:25:45.920 --> 00:25:51.480
are the influences are obvious, but it feels more. And
474
00:25:51.519 --> 00:25:54.039
again I can't say I want to watch Easy Writer again,
475
00:25:54.319 --> 00:25:57.319
but to me, it just felt like it served the
476
00:25:57.480 --> 00:26:01.480
psychology of the characters and the story it works better.
477
00:26:01.599 --> 00:26:04.559
And I don't know the source material as well. I
478
00:26:04.559 --> 00:26:06.440
know the source material is a little bit more just
479
00:26:06.480 --> 00:26:11.400
straightforward pulp crime thriller. So this film is less interested
480
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in like I mean it, Like you said, when he
481
00:26:13.400 --> 00:26:16.680
kicks open that door and kind of just like grabs
482
00:26:16.720 --> 00:26:19.119
her and is just like, where's where's the guy? Where
483
00:26:19.200 --> 00:26:22.000
is he? And it's this moment of violence and intensity.
484
00:26:22.279 --> 00:26:24.799
There are moments of intensity and like moments that are
485
00:26:24.880 --> 00:26:27.480
kind of like I would describe as exciting. But that's
486
00:26:27.519 --> 00:26:31.119
not what Borman has on his mind with the film,
487
00:26:31.279 --> 00:26:34.279
and the stuff that he has on his mind is
488
00:26:34.759 --> 00:26:37.880
kind of you. He blasts the audience with it. The
489
00:26:37.880 --> 00:26:40.640
stuff on his mind is like cinema. This is what
490
00:26:40.799 --> 00:26:42.400
cinema can do to a story.
491
00:26:42.480 --> 00:26:45.759
I would say, what's on his mind is emotion, right,
492
00:26:45.759 --> 00:26:50.079
and like how do we convey the emotion cinematically? Like
493
00:26:50.200 --> 00:26:53.160
to me, this is one of the great adaptations because
494
00:26:53.200 --> 00:26:58.119
I do love the Richard Stark novel and it does
495
00:26:58.519 --> 00:27:01.480
have a lot in common with the movie. I mean,
496
00:27:01.519 --> 00:27:05.039
the movie changes things up, but the book is also
497
00:27:05.319 --> 00:27:09.799
very style based and it is a genre of play.
498
00:27:09.839 --> 00:27:13.640
Donald Westlake as Richard Stark is you know, walking in
499
00:27:13.799 --> 00:27:18.680
the footsteps of Dashel Hammett and Raymond Chandler and cats
500
00:27:18.759 --> 00:27:22.400
like that, but doing something very much of its time
501
00:27:22.519 --> 00:27:24.920
too when it was published, and it does not like
502
00:27:25.000 --> 00:27:28.400
some nonlinear stuff happening in the book too, Okay, okay,
503
00:27:28.400 --> 00:27:34.599
but the movie, in trying to adapt the book, is like, okay, well,
504
00:27:34.640 --> 00:27:39.039
how do we get into the rage of this character
505
00:27:39.200 --> 00:27:41.359
Walker in the movie, Parker in the book, how do
506
00:27:41.400 --> 00:27:44.440
we get in the rage of this character and really
507
00:27:44.480 --> 00:27:48.240
explore how this betrayal has shattered him?
508
00:27:48.599 --> 00:27:51.680
Yeah, he's not quite you know, there's a whole theory
509
00:27:51.839 --> 00:27:54.440
about is he dead the whole time? Is this happening?
510
00:27:54.519 --> 00:27:56.759
Yeah, Like that's less interesting to me, like to me,
511
00:27:56.920 --> 00:27:59.519
Like people think that way because they had never encountered
512
00:27:59.559 --> 00:28:01.240
a movie like this in nineteen sixty seven.
513
00:28:01.599 --> 00:28:02.519
Yeah, and because it.
514
00:28:02.480 --> 00:28:07.400
Was so dreamlike and strange and not linear. They're like,
515
00:28:07.839 --> 00:28:12.000
this is a ghost story, right, it's not a ghost story.
516
00:28:12.079 --> 00:28:15.119
I get the impulse to want to like say like, oh,
517
00:28:15.160 --> 00:28:18.519
but I'm with you, And I don't think that's that's
518
00:28:18.640 --> 00:28:21.799
the I don't think that's as interesting as what the
519
00:28:21.799 --> 00:28:24.359
film is actually showing us. I think it's more interesting
520
00:28:24.400 --> 00:28:28.720
that this guy is not fully like a ghost quote unquote,
521
00:28:28.720 --> 00:28:32.279
not literally a ghost, but he's become like a shell
522
00:28:32.319 --> 00:28:33.119
of a human being.
523
00:28:33.240 --> 00:28:37.759
Yeah. Chris Angie Dickinson says, like you died on that island, yes,
524
00:28:38.039 --> 00:28:40.759
and so he did not. I do think that a
525
00:28:40.880 --> 00:28:44.119
cheap storyteller would make it happen exactly.
526
00:28:44.200 --> 00:28:46.279
I don't think that's meant to be taken literally. I
527
00:28:46.319 --> 00:28:49.319
think he did die and he is no longer himself,
528
00:28:49.319 --> 00:28:52.799
and I think the film reinforces that throughout. He is
529
00:28:52.920 --> 00:28:57.000
kind of just this specter and he's not really motivated
530
00:28:57.079 --> 00:29:00.640
by anything complex. He just wants revenge and he wants
531
00:29:00.640 --> 00:29:02.880
his money. There's that great scenior the inward It's like, wow,
532
00:29:02.880 --> 00:29:04.200
what do you want? He's like, it's like, I just
533
00:29:04.240 --> 00:29:07.160
want my money. It was almost delivered like Heath Ledger's
534
00:29:07.160 --> 00:29:09.200
delivery if I just want my phone call in the
535
00:29:09.279 --> 00:29:11.519
dark Knight. It reminded me of that, just kind of
536
00:29:11.559 --> 00:29:13.880
like that's all I want, Like it's yeah.
537
00:29:13.920 --> 00:29:16.960
And the way that the film then like repeats those
538
00:29:16.960 --> 00:29:19.960
sequences in which he has said that line previously. I
539
00:29:20.039 --> 00:29:21.799
just want my money. I want my money. I want
540
00:29:21.839 --> 00:29:25.279
my money, and in doing that, the absurdity of that
541
00:29:25.400 --> 00:29:29.920
desire is highlighted. And you know, I like, right at
542
00:29:29.920 --> 00:29:34.319
the climax of this film, you know, he he could
543
00:29:34.359 --> 00:29:35.640
get the money, but then.
544
00:29:36.519 --> 00:29:37.160
What does he have.
545
00:29:37.640 --> 00:29:42.599
It's ridiculous. Yeah, It's like I just yeah, yeah.
546
00:29:42.480 --> 00:29:45.079
I kind of. I felt like at the end, my
547
00:29:45.240 --> 00:29:48.319
vibe was again not that this guy was dead and
548
00:29:48.359 --> 00:29:51.640
not that like, oh, he's just a ghost in everyone imagined, Like,
549
00:29:51.680 --> 00:29:53.480
you know, I don't buy that. I just buy that
550
00:29:53.519 --> 00:29:57.079
this guy has nothing, he's emp he is empty, and
551
00:29:57.119 --> 00:30:00.799
he belongs to this darkness. He's disappearing in to the darkness.
552
00:30:01.000 --> 00:30:03.319
And when the money it's finally and we don't even
553
00:30:03.359 --> 00:30:06.480
know really, like is that really the money? Was he
554
00:30:06.559 --> 00:30:10.079
being set up again? And you don't you don't know Fairfax.
555
00:30:10.119 --> 00:30:13.319
We find out this guy is actually Fairfax. Is he Fairfax?
556
00:30:13.880 --> 00:30:14.400
Who knows?
557
00:30:14.480 --> 00:30:16.880
I don't. I think he's Fairfax. And I think the
558
00:30:16.960 --> 00:30:20.599
fact that the sniper Dougie Hauser's dad, by the way,
559
00:30:21.119 --> 00:30:23.440
captain of the Enterprise.
560
00:30:24.119 --> 00:30:28.039
B is it the Bee what what I think one
561
00:30:28.039 --> 00:30:30.359
of the one of them enterprises, the start Trek three?
562
00:30:30.799 --> 00:30:33.559
Oh no, no, no, the captain of the Excelsior. Oh forgive me,
563
00:30:34.119 --> 00:30:36.799
Oh my god, he's the captain of Excelsior before Sulu
564
00:30:36.880 --> 00:30:39.720
took over. Anyway, Doogie Howser's dad. He's the higher gun.
565
00:30:39.759 --> 00:30:42.920
And I think the fact that he is there at
566
00:30:42.920 --> 00:30:47.599
the end indicates that Fairfax probably would have killed Walker.
567
00:30:47.400 --> 00:30:50.039
Yes, that's the vibe guy, and so I feel like,
568
00:30:50.200 --> 00:30:53.720
again he's calling the bluff. Walker's calling the bluff. But
569
00:30:53.759 --> 00:30:56.160
also I think to your point.
570
00:30:56.359 --> 00:30:58.160
He he takes.
571
00:30:57.920 --> 00:31:01.000
That money and what's what's left. It's like to him,
572
00:31:01.079 --> 00:31:04.839
it's like it's almost like prolonging the inevitable, which is
573
00:31:04.839 --> 00:31:08.160
that he has no reason to exist. Once he's gotten
574
00:31:08.240 --> 00:31:11.960
his revenge or once he gets that money, it doesn't matter.
575
00:31:12.240 --> 00:31:15.359
He's nothing anymore. And that's what I took from the
576
00:31:15.400 --> 00:31:17.640
film is that this guy is moving through each of
577
00:31:17.680 --> 00:31:21.799
these moments, each of these interactions, even like the fleeting
578
00:31:21.920 --> 00:31:26.680
romance he experiences, and he's just there and he's not
579
00:31:26.880 --> 00:31:31.279
really engaged with it. I loved I absolutely loved the
580
00:31:31.319 --> 00:31:34.759
scene where Angie Dickinson just kind of beats him senseless
581
00:31:34.759 --> 00:31:36.839
and he's sort of just standing there taking it. Yeah,
582
00:31:36.880 --> 00:31:40.160
and it goes past the point of like she hits
583
00:31:40.200 --> 00:31:41.960
him a couple times and you're like, oh, this Lee
584
00:31:42.039 --> 00:31:44.319
Marvin guy can take a punch. It then just becomes
585
00:31:44.359 --> 00:31:48.880
like a frantic just walloping. It's just like over over
586
00:31:49.359 --> 00:31:52.720
and I'm like, somebody called cut and then you know
587
00:31:52.799 --> 00:31:55.319
she falls over and he's just kind of like all right,
588
00:31:55.359 --> 00:31:57.079
and he goes into the living room and puts on
589
00:31:57.119 --> 00:32:01.680
the TV, and it's just I think that moment encapsulates
590
00:32:01.759 --> 00:32:04.200
this character. This guy doesn't like he's just like, I'm
591
00:32:04.240 --> 00:32:09.039
here and I feel nothing. And then it's like this weird,
592
00:32:09.079 --> 00:32:11.240
this moment of violence. She smacks him in the head,
593
00:32:11.279 --> 00:32:13.720
and then it's almost like out of necessity, they end
594
00:32:13.799 --> 00:32:17.640
up sleeping together because it's like it just it feels
595
00:32:17.720 --> 00:32:20.559
like the raw passion and emotion in that moment has
596
00:32:20.680 --> 00:32:22.039
gotten so high.
597
00:32:21.839 --> 00:32:26.759
That it's somehow yes, exactly, and you know that's that
598
00:32:27.119 --> 00:32:30.119
it's very, very powerful, and I just loved it. So
599
00:32:30.160 --> 00:32:33.079
I want to hit rewind on the movie again because
600
00:32:33.160 --> 00:32:35.400
this is I'm just so excited that you're here, because
601
00:32:35.440 --> 00:32:39.200
I was, Sean. I was so prepared to come in
602
00:32:39.240 --> 00:32:42.839
to this conversation like a defense attorney.
603
00:32:43.599 --> 00:32:46.920
Well, I mean, the film is is not conventional in
604
00:32:46.960 --> 00:32:50.119
the sense of like it's not your average revenge thriller.
605
00:32:50.160 --> 00:32:53.160
You know, I know Dirty Harry. There are some not
606
00:32:53.480 --> 00:32:56.880
maybe not direct thematic connections, but certainly the gun is
607
00:32:57.559 --> 00:32:58.359
in Dirty Harry.
608
00:32:58.440 --> 00:32:59.880
You know, we I talked about like the you know,
609
00:32:59.880 --> 00:33:03.880
the this is a very masculine movie. It is, Yeah,
610
00:33:04.160 --> 00:33:08.079
and it's also a dated film. It's nineteen sixty seven.
611
00:33:08.359 --> 00:33:10.000
When you watch this, you don't feel like, wow, this
612
00:33:10.039 --> 00:33:12.119
could have been made yesterday. No, this could only have
613
00:33:12.200 --> 00:33:15.839
been made in nineteen sixty seven, right, And I say
614
00:33:15.839 --> 00:33:18.319
that with all the pros and cons that come with that.
615
00:33:19.279 --> 00:33:22.400
But like going back in time or hitting rewind on
616
00:33:22.440 --> 00:33:27.160
the film. You know, you're watching the movie opening sequence.
617
00:33:27.519 --> 00:33:32.880
You know, the heist goes wrong. The first thing you
618
00:33:32.920 --> 00:33:34.599
see in this film, the first thing you hear in
619
00:33:34.599 --> 00:33:37.440
this film are the gunshots, and then we get like
620
00:33:37.599 --> 00:33:41.480
the title point blank, and then we get that title again. Yes,
621
00:33:41.680 --> 00:33:45.000
when the actual credits happen, it's really fabulous. I love
622
00:33:45.039 --> 00:33:49.039
the opening of this movie. But take me back to Okay,
623
00:33:49.079 --> 00:33:51.960
you're watching that sequence, how are you feeling during the credits?
624
00:33:52.400 --> 00:33:55.400
Take me to how you're feeling about the walker going
625
00:33:55.400 --> 00:33:57.839
through lax to the apartment.
626
00:33:58.200 --> 00:34:01.039
And all of that. Yeah, I just through that. I
627
00:34:01.079 --> 00:34:03.799
remember just thinking, like, you know, again, the film kind
628
00:34:03.799 --> 00:34:06.440
of opens very conventionally, but then suddenly we're kind of
629
00:34:06.440 --> 00:34:10.440
taken into the realm of slightly surreal, not overtly, but
630
00:34:10.519 --> 00:34:13.679
you have these scenes of like he's in the water
631
00:34:14.320 --> 00:34:17.199
and there's the announcer kind of on the boat discussing
632
00:34:17.239 --> 00:34:19.480
like Alcatraz and Da da Dad, and here are all
633
00:34:19.480 --> 00:34:22.079
the people who died, and you're I'm realizing at this point,
634
00:34:22.119 --> 00:34:26.880
I'm like, okay, this is I've already seen in this
635
00:34:27.119 --> 00:34:31.280
brief opening, Like just these opening minutes a sense of
636
00:34:31.719 --> 00:34:34.559
that new way vibe of the you know, we're in
637
00:34:34.599 --> 00:34:37.800
the late sixties, we're trying new things with film. We're
638
00:34:37.800 --> 00:34:40.800
not necessarily going to follow this story from point A
639
00:34:40.960 --> 00:34:43.880
to point B. It does kind of like, you know,
640
00:34:43.920 --> 00:34:46.440
the story plays out linearly, but there are so many
641
00:34:46.480 --> 00:34:50.679
moments of like reflection and just staring into the abyss.
642
00:34:50.239 --> 00:34:53.199
And scenes layered on top of each other, right next
643
00:34:53.239 --> 00:34:55.679
to each other, hop it back and forth between exactly.
644
00:34:55.760 --> 00:34:59.079
So I immediately am like, oh, this is going to
645
00:34:59.159 --> 00:35:03.519
be really in testing and the use of visuals and sound,
646
00:35:03.639 --> 00:35:08.039
particularly in the lax moment. Just it's a striking image
647
00:35:08.159 --> 00:35:11.800
him moving through that hallway. You have this plane white
648
00:35:11.960 --> 00:35:14.840
all to you know, to his the left of the frame,
649
00:35:15.199 --> 00:35:17.039
and on the right there are all these colors and
650
00:35:17.079 --> 00:35:20.440
it's just a striking image. And then the sound. It
651
00:35:20.599 --> 00:35:23.880
just felt to me like this is John Borman, who
652
00:35:23.920 --> 00:35:26.639
I you know, I went back, obviously and looked up
653
00:35:26.840 --> 00:35:29.039
some behind the scenes tidbits and learned a little bit
654
00:35:29.039 --> 00:35:32.119
more about him. But obviously I think this was his
655
00:35:32.280 --> 00:35:35.639
first color film, and I think this was a film
656
00:35:35.679 --> 00:35:38.880
too narrative. Yeah, so he'd done like what the Dave
657
00:35:38.960 --> 00:35:42.119
Clark five, like that kind of hard Day's Night esque thing,
658
00:35:42.360 --> 00:35:45.679
and then he'd done some documentaries. So it felt to
659
00:35:45.719 --> 00:35:48.360
me like this was a young filmmaker. I don't know
660
00:35:48.400 --> 00:35:49.880
how old he was at the time, but it felt
661
00:35:49.920 --> 00:35:55.039
like a hungry filmmaker. Like, Yes, it just had that
662
00:35:55.239 --> 00:35:58.920
sense of you could tell he was going to use
663
00:35:59.000 --> 00:36:00.440
all the tools at his disposed.
664
00:36:00.519 --> 00:36:02.719
He was thirty four when this movie came.
665
00:36:02.599 --> 00:36:05.760
Out, right, so relatively young, and it just I felt like,
666
00:36:05.880 --> 00:36:09.079
through that moment as the film is kind of bombarding
667
00:36:09.079 --> 00:36:12.079
you with image and sound, I was like, this is
668
00:36:12.360 --> 00:36:16.960
a filmmaker who wanted to prove what makes this medium unique,
669
00:36:17.280 --> 00:36:21.840
how this story and this medium can work together to
670
00:36:21.960 --> 00:36:25.360
tell this to tell the story, and this is the
671
00:36:25.400 --> 00:36:27.920
only way it could be told, and this is all
672
00:36:28.000 --> 00:36:30.760
the things that are available to him to make it
673
00:36:30.840 --> 00:36:35.760
happen that way. So I was immediately intrigued and curious.
674
00:36:35.840 --> 00:36:37.280
I was like, where is this going to go? And
675
00:36:37.320 --> 00:36:40.079
the film is I mean, it's a brisk ninety minutes
676
00:36:40.440 --> 00:36:42.639
and you don't have a lot of downtime. There are
677
00:36:42.840 --> 00:36:46.639
moments of, you know, where Walker is kind of just
678
00:36:46.760 --> 00:36:50.199
staring and the music is kind of hypnotic and the
679
00:36:50.280 --> 00:36:52.800
visuals are kind of going in and out of focus
680
00:36:52.840 --> 00:36:56.159
and it's pulling you in in that way. But for
681
00:36:56.199 --> 00:36:59.800
the most part, it felt like there after that moment
682
00:36:59.840 --> 00:37:03.280
he's breaking down the door, he's shooting the gun, and
683
00:37:03.320 --> 00:37:07.239
then even in that quiet moment with his wife, who
684
00:37:07.360 --> 00:37:10.760
is kind of like she's just sort of sitting there
685
00:37:11.360 --> 00:37:15.639
and he is just not responding to anything she's saying.
686
00:37:15.719 --> 00:37:19.199
She's kind of explaining, here's what happened, here's why it happened,
687
00:37:19.239 --> 00:37:23.280
here's how I feel, Here's what's going on, Here's where
688
00:37:23.280 --> 00:37:27.039
he is, and like just kind of like apparently there
689
00:37:27.159 --> 00:37:29.360
was dialogue between the two of them in that moment,
690
00:37:29.440 --> 00:37:32.760
and on the day Lee Marvin just decided, I don't
691
00:37:32.800 --> 00:37:35.840
think Walker would be saying anything. I don't think it's
692
00:37:35.920 --> 00:37:38.400
right for him to say anything. So she just played
693
00:37:38.400 --> 00:37:42.639
opposite that and started saying his lines and kind of
694
00:37:42.679 --> 00:37:46.360
asking the questions that he wasn't asking that he was
695
00:37:46.360 --> 00:37:49.920
supposed to be asking. And I was just so enthralled
696
00:37:49.960 --> 00:37:53.280
by that. I was so enthralled by the power of
697
00:37:53.280 --> 00:37:55.519
a film in nineteen sixty seven to kind of take
698
00:37:55.559 --> 00:37:59.840
these unconventional approaches to scenes that we've seen in other
699
00:38:00.000 --> 00:38:03.119
films before the moment where the score and husband comes
700
00:38:03.159 --> 00:38:06.440
home and he's like, you expect him to just murder
701
00:38:06.480 --> 00:38:09.280
the wife, but he's it's just kind of things aren't
702
00:38:09.280 --> 00:38:13.199
playing out the way you would expect. He's sad and
703
00:38:13.320 --> 00:38:17.280
he's broken, and she's sad and she's broken, and they're
704
00:38:17.320 --> 00:38:21.440
just having this quiet conversation. And even though there's no
705
00:38:21.599 --> 00:38:24.199
big shootout or any big moment where he's like, all right, well,
706
00:38:24.199 --> 00:38:26.840
I guess I'm gonna kill you now it is, it
707
00:38:26.960 --> 00:38:30.440
just pulled me in. I was so engaged with this,
708
00:38:30.800 --> 00:38:34.440
Like she overdoses, yeah, and he doesn't seem that bothered
709
00:38:34.440 --> 00:38:34.679
by her.
710
00:38:34.679 --> 00:38:36.960
I mean, he might as well have killed her, yes,
711
00:38:37.199 --> 00:38:39.039
he just doesn't need to. And I feel like he
712
00:38:39.119 --> 00:38:43.920
even knows that he doesn't need to. And you know,
713
00:38:44.920 --> 00:38:48.039
you refer to the film as like a revenge movie,
714
00:38:48.559 --> 00:38:52.599
and it is until it is it Yeah yeah, me
715
00:38:52.719 --> 00:38:56.199
about like watching the first chunk of this movie, going
716
00:38:56.199 --> 00:38:59.519
from that scene, going to Big John Stegmann at the
717
00:38:59.559 --> 00:39:03.400
Carl and then finally getting to the confrontation with John
718
00:39:03.519 --> 00:39:08.079
Vernon's Reese, like, here's a guy who you know betrayed him,
719
00:39:08.079 --> 00:39:09.559
here's your revenge moment.
720
00:39:10.320 --> 00:39:14.440
I loved. I loved all of it because I think Lee,
721
00:39:14.719 --> 00:39:18.320
like Lee Marvin, has explosions of violence, this character has
722
00:39:18.360 --> 00:39:21.599
explosions of violence. You know, the sequence what's the car
723
00:39:21.639 --> 00:39:24.880
where he's backing it and going forward and backwards is
724
00:39:24.920 --> 00:39:27.400
so good. But I think the club scene was what
725
00:39:27.559 --> 00:39:30.519
really impressed me first because the imagery of it is
726
00:39:30.559 --> 00:39:34.679
so striking. Again, like the music, the visuals, it's colorful,
727
00:39:34.840 --> 00:39:38.719
it's it's weird and it's surreal, and it's.
728
00:39:38.599 --> 00:39:42.400
Just a singer like yeah the white businessman to sing
729
00:39:42.440 --> 00:39:44.719
back at him, and then the way that like he's
730
00:39:44.800 --> 00:39:48.679
like yeah, just yes, getting repeated over the course of
731
00:39:48.719 --> 00:39:53.719
the fight. Yes. It's so unnerving. It's so unsettling to
732
00:39:53.960 --> 00:39:56.679
experience as.
733
00:39:55.639 --> 00:39:58.760
The film has that kind of pounding you know, the footsteps,
734
00:39:58.840 --> 00:40:02.480
the music, the repet it has that kind of pounding
735
00:40:02.599 --> 00:40:05.480
sense of like it's building to something and you get
736
00:40:05.519 --> 00:40:09.159
to it's yaz and it reminded me you know The
737
00:40:09.280 --> 00:40:12.119
Odyssey is out this weekend and Nolan. This is something
738
00:40:12.159 --> 00:40:15.039
Nolan does really well too, where it's just like utilizing
739
00:40:15.039 --> 00:40:18.440
the soundtrack to build, like with these kind of repetitions,
740
00:40:18.480 --> 00:40:21.400
these thumping noises that are kind of pushing. Something's gonna
741
00:40:21.400 --> 00:40:24.360
push you and push you and push you until that explosion,
742
00:40:24.440 --> 00:40:26.920
until that big moment, and I just felt like that,
743
00:40:26.960 --> 00:40:30.000
I felt like a lot of that inspiration. I could
744
00:40:30.000 --> 00:40:31.960
see that here. I could see seeds of that here.
745
00:40:32.000 --> 00:40:35.000
And the fight is so brutal and something I just
746
00:40:35.079 --> 00:40:37.480
loved about it is like in the midst of this,
747
00:40:37.480 --> 00:40:40.159
this guy's beaten on the ground and then Walker just
748
00:40:40.880 --> 00:40:43.559
like just completely nails him in the nuts. Like it
749
00:40:43.800 --> 00:40:46.719
just felt like such a cheap shot, and you see
750
00:40:46.760 --> 00:40:49.320
that kind of like that kind of move is played
751
00:40:49.400 --> 00:40:52.239
humorously in so many films where there's a fight scene,
752
00:40:52.639 --> 00:40:56.559
but in this film, it's so it's such a brutal move,
753
00:40:57.079 --> 00:40:59.440
and I remember thinking like, well, yeah, that feels like
754
00:40:59.480 --> 00:41:02.559
the move that makes the most sense for anybody.
755
00:41:03.960 --> 00:41:04.480
Exactly.
756
00:41:05.519 --> 00:41:09.039
I remember just watching that moment and thinking after thinking
757
00:41:09.119 --> 00:41:12.000
like ouch and win saying I was just like that,
758
00:41:12.360 --> 00:41:14.880
I'm actually kind of shocked. I haven't seen that move
759
00:41:15.039 --> 00:41:18.239
in more films and like just because it's like, what's
760
00:41:18.280 --> 00:41:20.239
the easiest way to end to fight with the dude?
761
00:41:20.360 --> 00:41:22.719
Hit him in the balls, But it's just the guy's
762
00:41:22.719 --> 00:41:25.239
already on the ground and he makes a point of
763
00:41:25.320 --> 00:41:28.199
just like bam, and the guy's like down for the count.
764
00:41:28.440 --> 00:41:31.119
And I just remember thinking that is so brutal and
765
00:41:31.239 --> 00:41:35.239
so efficient and just like what yeah, the cherry on
766
00:41:35.360 --> 00:41:39.440
top of this insane sequence. And then you know, eventually
767
00:41:39.480 --> 00:41:41.840
he does get to this guy, he gets to Reese,
768
00:41:42.119 --> 00:41:45.639
and Reese is just like sniveling and pathetic and he's
769
00:41:46.159 --> 00:41:53.199
already met with with Chris to basically like explain yes.
770
00:41:53.239 --> 00:41:56.599
And She's wonderful. She's incredible. She also like has a
771
00:41:56.679 --> 00:42:01.599
quiet power to her, like yeah, I don't know that
772
00:42:01.639 --> 00:42:07.079
I've seen her watch Rio Bravo the Best Joke, Okay, Yeah,
773
00:42:07.079 --> 00:42:12.599
I like I feel like her quiet intensity matches it's
774
00:42:12.639 --> 00:42:15.639
a match for Lee Marv. And I think Lee Marvin
775
00:42:16.239 --> 00:42:19.480
really championed her for the role. I don't think she
776
00:42:19.760 --> 00:42:22.159
was the studio's first pick, and I think he was
777
00:42:22.239 --> 00:42:24.400
kind of like, no, Nope, it's her, She's gonna be
778
00:42:24.440 --> 00:42:28.360
in it. And so I loved this kind of strange
779
00:42:28.559 --> 00:42:32.280
relationship and romance that they have, if you could call
780
00:42:32.320 --> 00:42:38.119
it a romance, it's like a mutual appreciation for each
781
00:42:38.119 --> 00:42:41.320
other but also an understanding, like they're kind of in
782
00:42:41.320 --> 00:42:45.840
this together, Like, yeah, he my sister was, you were
783
00:42:45.840 --> 00:42:50.159
married to my sister. I hate this guy, Reese, and
784
00:42:50.280 --> 00:42:53.360
I want to see you get revenge on him because
785
00:42:53.400 --> 00:42:55.039
of the way he treated you and the way he
786
00:42:55.079 --> 00:42:57.199
treated my sister. So she's in it to win it
787
00:42:57.239 --> 00:43:01.599
with him, and I just think it's it's so interesting
788
00:43:01.679 --> 00:43:04.119
the way the scene plays out, the way he uses her.
789
00:43:04.639 --> 00:43:06.440
It's so sad, dude.
790
00:43:06.360 --> 00:43:09.840
It is sad, and it's like she's a willing participant,
791
00:43:09.840 --> 00:43:12.880
but that doesn't make it any less icky and to.
792
00:43:12.920 --> 00:43:15.920
Gross sequence, you know, but like in the best way.
793
00:43:16.440 --> 00:43:19.320
Yes, she lures.
794
00:43:20.119 --> 00:43:23.440
Reese into bed John Vernon in the bed, and John
795
00:43:23.519 --> 00:43:25.920
Vernon's like, yo, I finally did it. I've been wanting
796
00:43:25.960 --> 00:43:28.960
to get with my sister or again, not his wife,
797
00:43:28.960 --> 00:43:32.239
but my girl's sister for a long time. And man,
798
00:43:32.280 --> 00:43:34.960
it's happening. That what a dream come true for me.
799
00:43:35.480 --> 00:43:39.639
And you know, Marvin has slowly been sneaking his way
800
00:43:39.840 --> 00:43:44.559
up this impenetrable penthouse and like the way he does
801
00:43:44.599 --> 00:43:48.559
that by you know, uh, you know, abounding and gagging
802
00:43:48.599 --> 00:43:51.599
those two men in the apartment building across the street,
803
00:43:52.280 --> 00:43:55.719
which distracts the guards in the lobby. One of those guards,
804
00:43:55.760 --> 00:43:58.440
by the way, is sid Hag from the Devil's Rejects
805
00:43:58.440 --> 00:44:02.280
House of a Thousand Corpses Wonderful, and he gets his
806
00:44:02.320 --> 00:44:04.840
way up to the top, and so John Vernon's like, man,
807
00:44:04.840 --> 00:44:06.639
I'm having the best night of my life. I'm making
808
00:44:06.679 --> 00:44:10.280
it with my girl, and ted Lee Barvins pulls Am
809
00:44:10.280 --> 00:44:12.800
out of bed and as he's pulling about of bed,
810
00:44:12.840 --> 00:44:16.599
he's like he's practically crying and he's clutching onto his
811
00:44:16.639 --> 00:44:18.119
sheets to cover himself.
812
00:44:18.599 --> 00:44:21.199
Well, it was such an it was such an interesting
813
00:44:21.239 --> 00:44:24.000
because we talk about the opening and the gunshot, but
814
00:44:24.039 --> 00:44:26.119
there's also that scene between the two of them in
815
00:44:26.159 --> 00:44:29.079
that crowded room like that Buddy, where they meet each
816
00:44:29.119 --> 00:44:31.840
other in the middle sea of men, Yes, and then
817
00:44:31.920 --> 00:44:36.000
Reese just kind of tackles him and straddles him and
818
00:44:36.159 --> 00:44:39.519
is like, you know, kind of just like it's a
819
00:44:39.760 --> 00:44:40.880
violating moment.
820
00:44:41.000 --> 00:44:44.199
Like scene is later referred to as the reunion, the
821
00:44:44.280 --> 00:44:45.079
reunion of.
822
00:44:45.159 --> 00:44:47.840
What Yes, Yes, And he's just like, I need you
823
00:44:47.920 --> 00:44:49.039
to do that and like it's.
824
00:44:48.920 --> 00:44:50.400
He's what are you doing?
825
00:44:50.679 --> 00:44:55.480
Like those drunken So it's a weird moment. And so
826
00:44:55.559 --> 00:44:58.639
in some ways again the power dynamic has shifted and
827
00:44:58.679 --> 00:45:01.320
now Walker is the one in charge, he's the one
828
00:45:01.360 --> 00:45:04.800
on top. Now he's in control. And but it's but
829
00:45:04.840 --> 00:45:08.280
Reese is like, like you said, he's sniffling, he's pathetic,
830
00:45:08.400 --> 00:45:11.920
he's sad, he wants to die, he knows it's over.
831
00:45:12.280 --> 00:45:14.719
Yeah, like the moment walkers in that room, but he's like,
832
00:45:14.800 --> 00:45:16.719
I'm done, there's no escape for me.
833
00:45:17.119 --> 00:45:21.320
But then also like his death comes completely by accident.
834
00:45:21.400 --> 00:45:22.079
It's so good.
835
00:45:22.719 --> 00:45:25.400
It just flips up the room. And I loved I
836
00:45:25.480 --> 00:45:29.679
absolutely love wonky special effects and all just but like his.
837
00:45:29.719 --> 00:45:33.840
Special effects work within the visual style of the film.
838
00:45:34.000 --> 00:45:36.159
Yeah, it was very like it reminded me of a
839
00:45:36.239 --> 00:45:38.880
Hitchcock thing where you know, I've seen this kind of
840
00:45:38.960 --> 00:45:43.920
visual in a Hitchcock movie in like Vertigo's surrealist sequences,
841
00:45:44.039 --> 00:45:46.599
Like it reminded me of that. And you're right, it
842
00:45:46.639 --> 00:45:49.039
is effective and it's just but it's all it's just
843
00:45:49.079 --> 00:45:51.559
so pathetic. This guy is completely naked, Like you said,
844
00:45:51.639 --> 00:45:56.519
this moment of triumph ends so so tragically in such
845
00:45:56.559 --> 00:45:57.800
a brutal way.
846
00:45:58.079 --> 00:45:59.039
And it was just funny.
847
00:45:59.519 --> 00:46:03.559
Yeah, it's pathetic. He's on the street completely buck naked
848
00:46:03.920 --> 00:46:04.400
and just.
849
00:46:04.320 --> 00:46:06.519
He's traumatized all those poor young girls down there.
850
00:46:06.599 --> 00:46:10.039
Yes, and there's also that moment where you know the shot,
851
00:46:10.480 --> 00:46:12.840
you hold that shot on these girls. First they're screaming,
852
00:46:12.880 --> 00:46:16.400
but then they're just kind of staring like dead eyed
853
00:46:16.719 --> 00:46:19.880
at this dead body on the ground, and it just
854
00:46:20.400 --> 00:46:25.000
it reminded me so much of like Walker's character in general,
855
00:46:25.039 --> 00:46:28.280
that kind of hypnotized, dead eyed stare where he doesn't
856
00:46:28.280 --> 00:46:31.960
feel anything. It's like the death that they've been traumatized
857
00:46:31.960 --> 00:46:34.480
by the death and to that point they've kind of
858
00:46:34.519 --> 00:46:39.239
like become it's normalized to them. They're now fascinated by
859
00:46:39.280 --> 00:46:40.039
it and they're just so.
860
00:46:41.280 --> 00:46:43.400
A revenge movie. The movie's over.
861
00:46:43.239 --> 00:46:46.840
Now, right, And that's what it was interesting. I was like,
862
00:46:46.880 --> 00:46:49.800
we're halfway through, so what happens next? And then it's like, well,
863
00:46:49.840 --> 00:46:51.599
I got to get my money and I'm like, oh, okay,
864
00:46:51.840 --> 00:46:55.280
So there's this organization that Reese has, you know, he
865
00:46:55.440 --> 00:46:59.880
owes them money. He's given them money and the money's
866
00:47:00.119 --> 00:47:02.000
one and so what I love.
867
00:47:02.000 --> 00:47:03.920
Is like, so he gave him like a hundred, like
868
00:47:04.800 --> 00:47:07.119
to he had to pay off the organization with like
869
00:47:07.119 --> 00:47:11.400
one hundred and fifty thousand dollars some large number. But
870
00:47:11.400 --> 00:47:15.000
but Walker only wanted ninety three thousand because that was
871
00:47:15.039 --> 00:47:17.559
his cut. So that's what he wants. Locker just wants
872
00:47:17.559 --> 00:47:20.280
his ninety three thousand back, not the whole thing.
873
00:47:20.360 --> 00:47:22.559
Yeah, which is you know, that makes perfect sense. The
874
00:47:22.599 --> 00:47:25.280
guy's not asking for much. He just wants to kill
875
00:47:25.320 --> 00:47:28.360
everybody who wronged him and get his ninety three thousand again.
876
00:47:28.639 --> 00:47:30.519
I just want my phone call. That's what it all
877
00:47:30.559 --> 00:47:34.920
reminded me of. And Lee Marvivin's uh temperament and those
878
00:47:34.960 --> 00:47:38.679
scenes when he's threatening these businessmen, like I love. There's
879
00:47:38.719 --> 00:47:42.400
that great moment where he he's already he walks up
880
00:47:42.440 --> 00:47:44.880
to the one guy I can't remember his name, but
881
00:47:45.000 --> 00:47:48.000
he basically like approaches him at a party and is like.
882
00:47:47.960 --> 00:47:48.800
You own Carter.
883
00:47:49.320 --> 00:47:51.320
Carter, He is like, you owe me money, and the
884
00:47:51.400 --> 00:47:51.880
guy's like.
885
00:47:52.760 --> 00:47:56.039
You know, like a political up tourty. Yeah, it's so
886
00:47:56.079 --> 00:47:59.480
the organization is like, you know, it's not called the mob,
887
00:47:59.519 --> 00:48:02.679
it's called the organization. But clearly they've got their fingers
888
00:48:02.760 --> 00:48:05.559
in a lot of pies. Politics business all that, all
889
00:48:05.559 --> 00:48:06.360
that kind of stuff.
890
00:48:06.719 --> 00:48:11.239
Yeah, and they're all like they're all like, what do
891
00:48:11.280 --> 00:48:11.719
you call it?
892
00:48:12.440 --> 00:48:12.679
Push?
893
00:48:13.000 --> 00:48:15.800
Yeah, suits, they don't do anything, Like they all just
894
00:48:15.840 --> 00:48:18.119
are kind of like, where's my money? I don't have
895
00:48:18.159 --> 00:48:19.679
your money? This guy has your money. I don't know
896
00:48:19.719 --> 00:48:21.440
where your money, and I don't have cash on like,
897
00:48:21.480 --> 00:48:24.079
it's like none of them are actually like the people
898
00:48:24.320 --> 00:48:28.119
who make the stuff happen. They're just enjoying and reaping
899
00:48:28.159 --> 00:48:28.920
the benefits of it.
900
00:48:29.000 --> 00:48:31.719
Well, I love like how the plot moves along because
901
00:48:32.280 --> 00:48:34.960
you know, he goes in the very beginning of the movie,
902
00:48:35.280 --> 00:48:39.280
he goes to his wife and she dies, and then
903
00:48:39.320 --> 00:48:42.480
a guy knocks on the door, and it's a delivery
904
00:48:42.519 --> 00:48:46.159
man with a packet of cash, and Marvin roughs him up,
905
00:48:46.199 --> 00:48:49.079
and then that guy points him to Big John Stegman,
906
00:48:49.119 --> 00:48:52.000
and then Big John Stegman points him to mister Carter,
907
00:48:52.079 --> 00:48:54.119
and then mister Carter points him to mister Brewster, and
908
00:48:54.159 --> 00:48:55.320
mister Bruser points them the mist.
909
00:48:55.559 --> 00:48:57.840
Again, this is all like it's par for the course
910
00:48:57.880 --> 00:49:01.960
for this kind of movie, but it's all the narrative
911
00:49:02.039 --> 00:49:05.840
unfolds and the filmmaking technique is done in such a
912
00:49:05.880 --> 00:49:09.119
way that's not it all plays out in this way,
913
00:49:09.159 --> 00:49:12.599
but it's all slightly skewed. It's all happening in this
914
00:49:12.719 --> 00:49:16.400
weird perspective that's not even though that is like it
915
00:49:16.559 --> 00:49:18.280
just kind of follows like all right, I gotta go
916
00:49:18.320 --> 00:49:20.119
to this guy now, and that guy told me I
917
00:49:20.159 --> 00:49:21.639
need to go get my money from this guy, so
918
00:49:21.679 --> 00:49:24.159
I'm gonna go threaten him, and it's like, yeah, it
919
00:49:24.239 --> 00:49:26.559
kind of plays out in just the straightforward way. And
920
00:49:26.679 --> 00:49:30.960
I know, it's funny that Marvin and Borman did not
921
00:49:31.199 --> 00:49:33.519
like the script at all. And Borman, I think when
922
00:49:33.719 --> 00:49:36.800
the film was released initially it didn't do super well,
923
00:49:37.239 --> 00:49:39.400
but Borman was just flat out like, yeah, I mean,
924
00:49:39.400 --> 00:49:42.199
if they're complaining about the script, the script is definitely
925
00:49:42.239 --> 00:49:44.559
a problem with the film. So in a lot of ways,
926
00:49:44.599 --> 00:49:48.639
like the script didn't really change, it's just the approach
927
00:49:48.679 --> 00:49:52.960
and execution of this direction and this vision that Borman
928
00:49:53.079 --> 00:49:57.199
had for the film and what Marvin had in mind
929
00:49:57.280 --> 00:50:00.280
for the character that's what makes it so striking. So
930
00:50:00.320 --> 00:50:02.920
it is like, yeah, he's just going from place to place,
931
00:50:02.960 --> 00:50:06.079
threatening person to person. And even then he kind of
932
00:50:06.119 --> 00:50:08.760
like at a certain point, like I was joking about,
933
00:50:09.119 --> 00:50:11.199
he's just like guys I just want my money, Like,
934
00:50:11.239 --> 00:50:13.920
why is this so hard? He's kind of defeated. He
935
00:50:14.000 --> 00:50:16.920
just kind of sits on the couch. After threatening this
936
00:50:17.000 --> 00:50:19.360
guy at gunpoint, he sits on the couch. He's like, well,
937
00:50:20.239 --> 00:50:21.719
if you don't have it, where am I going to
938
00:50:21.760 --> 00:50:23.639
get my money? That's all on the head, Like it's
939
00:50:23.639 --> 00:50:26.360
not that big of a deal. Guys, doesn't anybody have
940
00:50:26.480 --> 00:50:29.840
ninety three thousand dollars they can give me? It's so nonchalant,
941
00:50:29.920 --> 00:50:35.679
and it's just so strange for a movie that this genre,
942
00:50:36.280 --> 00:50:39.280
you know, to this day and even after this day,
943
00:50:39.320 --> 00:50:42.079
this genre kind of goes this route and we're so
944
00:50:42.199 --> 00:50:44.400
used to seeing like the guy kills all the people
945
00:50:44.440 --> 00:50:46.400
and that's that. But in this it's just very like
946
00:50:47.400 --> 00:50:52.519
weird and sad, and these people are helpless and dumb
947
00:50:52.559 --> 00:50:55.360
and don't know what's going on, and Lee Marvin is
948
00:50:55.440 --> 00:50:57.599
just like at the mercy of them, but also just
949
00:50:57.679 --> 00:51:03.280
like he doesn't there is nothing that motivates them beyond this,
950
00:51:03.920 --> 00:51:07.119
and that's what makes the ending so interestingly good.
951
00:51:07.199 --> 00:51:11.800
Look in la crime movie, Yeah yeah, I mean it's
952
00:51:11.360 --> 00:51:15.119
it's not quite what you would expect from the genre, too,
953
00:51:15.239 --> 00:51:19.320
because this kind of crime noir film you would expect grimy, grungy,
954
00:51:19.719 --> 00:51:23.679
and it's grimy and grungy, but there's also grimly yes,
955
00:51:24.159 --> 00:51:25.000
so much color.
956
00:51:25.280 --> 00:51:28.599
So many scenes are taking place outdoors during the day,
957
00:51:28.679 --> 00:51:31.760
blue skies, every like. You know, it's it's a beautiful
958
00:51:31.760 --> 00:51:36.000
looking film, and it is again very at odds with
959
00:51:36.079 --> 00:51:40.199
what the actual story is and what the character is
960
00:51:40.239 --> 00:51:43.239
going through, but it works really well. It almost makes
961
00:51:43.280 --> 00:51:46.800
it more disturbing that contrast that you have this brightly lit,
962
00:51:46.880 --> 00:51:50.880
colorful film and this empty vessel of a human being
963
00:51:51.000 --> 00:51:51.840
just moving through.
964
00:51:52.239 --> 00:51:56.559
And then you know it's enhanced by the editing style
965
00:51:56.840 --> 00:51:58.920
and the sound design and the score.
966
00:51:59.320 --> 00:52:01.840
Yeah, all these elements are coming together in a way
967
00:52:01.880 --> 00:52:05.719
that was really exciting and just feels like, Okay, this
968
00:52:05.960 --> 00:52:10.360
is where film is going. This is now we've kind
969
00:52:10.400 --> 00:52:14.480
of we've reached a new point in cinema where we
970
00:52:14.559 --> 00:52:17.000
want to try these new things. And I know the
971
00:52:17.119 --> 00:52:20.280
ratings code was very strict with what you could and
972
00:52:20.320 --> 00:52:23.559
couldn't show, and that was kind of going away. So
973
00:52:23.639 --> 00:52:25.440
it just feels like there are a lot of things
974
00:52:25.519 --> 00:52:28.880
happening in this movie, and like in films like The Graduate,
975
00:52:28.960 --> 00:52:34.599
where we're seeing people great filmmakers making use of the
976
00:52:34.639 --> 00:52:37.559
tools at their disposal to tell the story and to
977
00:52:37.679 --> 00:52:40.679
really evoke the inner life and inner workings of their
978
00:52:40.800 --> 00:52:45.000
characters' psychees. So in this case, Walker just like being
979
00:52:45.039 --> 00:52:51.239
confused and not really having much left is all in
980
00:52:51.280 --> 00:52:55.239
the film. And then also like you have these colorful costumes,
981
00:52:55.320 --> 00:52:59.840
bright hairdoos, and like Chris's hair and her yellow suit,
982
00:53:00.039 --> 00:53:01.079
you have the telescope.
983
00:53:01.199 --> 00:53:07.480
Yeah, it's a super fashionable movie. In fact, well, gosh,
984
00:53:07.519 --> 00:53:12.199
Angie Dickinson and Sharon Aker, who plays Walker's wife, for
985
00:53:12.320 --> 00:53:16.400
Life magazine, they did like a photo shoot at Alcatraz
986
00:53:16.960 --> 00:53:18.320
promote this movie.
987
00:53:18.559 --> 00:53:22.000
It's just what it's so garish and it's just like
988
00:53:22.360 --> 00:53:25.159
it feels like late sixties, but the film is not.
989
00:53:25.880 --> 00:53:28.239
I wouldn't call the film garish. It's doing a lot
990
00:53:28.280 --> 00:53:31.119
of like flashy show offye things, but.
991
00:53:31.079 --> 00:53:33.440
To me it's Chris. But it is like you said,
992
00:53:33.519 --> 00:53:38.239
dream like nightmare Like it's extremely style stylish. You know.
993
00:53:38.280 --> 00:53:41.599
The cinematographer is Philip Lothrop, you know who has like
994
00:53:41.639 --> 00:53:44.320
an incredible filmography. I mean he's the guy who shot
995
00:53:44.360 --> 00:53:47.639
Breakfast at Tiffany's. Okay, you know he shot you know,
996
00:53:47.679 --> 00:53:51.760
they shoot horses, don't they Like he shot Earthquake and
997
00:53:52.039 --> 00:53:55.719
Airport nineteen seventy five. This man shot some movie.
998
00:53:55.760 --> 00:53:58.280
He's lived alive, but for sure has.
999
00:53:58.079 --> 00:54:02.159
Not shot anything in my opinion that quite looks like
1000
00:54:02.280 --> 00:54:06.679
point blank. And I think that's because he met John Borman,
1001
00:54:06.800 --> 00:54:10.920
and John Borman really wanted to tell an artful movie,
1002
00:54:11.320 --> 00:54:12.440
the artful story.
1003
00:54:12.760 --> 00:54:15.840
Yeah, well that's that also is why it doesn't surprise
1004
00:54:15.960 --> 00:54:19.360
me necessarily that the film was so maybe. I mean
1005
00:54:19.360 --> 00:54:22.039
it did well, like it made money, right, I mean
1006
00:54:22.440 --> 00:54:25.519
people saw the movie, but it wasn't necessarily something that
1007
00:54:26.039 --> 00:54:28.960
stood out. And The Dirty doesn't came out the same years.
1008
00:54:29.400 --> 00:54:31.440
I think, like if you watch The Dirty, doesn't like
1009
00:54:31.760 --> 00:54:36.119
they look like they came from a complete decade, different decades.
1010
00:54:36.000 --> 00:54:39.679
Right right, Well that you know, the movie is of
1011
00:54:39.760 --> 00:54:42.679
its time for certain. This film is of its time
1012
00:54:42.719 --> 00:54:46.639
for certain, But it just I think because it is
1013
00:54:47.480 --> 00:54:52.400
trying things and the narration and the visuals, it doesn't
1014
00:54:52.519 --> 00:54:56.039
it feels more contemporary and it's not a typical story.
1015
00:54:56.119 --> 00:54:59.159
I remember, like as we're getting into the finale where
1016
00:54:59.199 --> 00:55:02.079
he returns to out Katraz, just looking at the time
1017
00:55:02.199 --> 00:55:05.000
stamp and thinking like, wait, how much time is this?
1018
00:55:05.280 --> 00:55:08.199
Like is the movie gonna end? Here and then kind
1019
00:55:08.199 --> 00:55:10.840
of like what just thinking through like what the repercussions
1020
00:55:10.840 --> 00:55:13.159
of that would be, Like what does that mean for
1021
00:55:13.199 --> 00:55:16.039
the movie? Like how could the movie possibly wrap things up?
1022
00:55:16.719 --> 00:55:19.119
And then it does, but the way it does is
1023
00:55:19.159 --> 00:55:22.199
not in a moment of glory. It's this moment of
1024
00:55:22.239 --> 00:55:24.119
like sad, quiet and confusion.
1025
00:55:24.159 --> 00:55:28.920
He ending, how do you feel about the twist that
1026
00:55:29.400 --> 00:55:33.280
the guy in the beginning, keenan Win, who we knew
1027
00:55:33.320 --> 00:55:36.760
as Yost, turns out to be Fairfax like one of
1028
00:55:36.760 --> 00:55:38.760
the I'm not gonna say the top dog of the
1029
00:55:38.800 --> 00:55:41.280
organization because like is there a top dog in the organization,
1030
00:55:41.440 --> 00:55:45.320
but he's the guy above Brewster and Brewster like for
1031
00:55:45.360 --> 00:55:48.599
the his entire time in the movie, he's like, look,
1032
00:55:48.639 --> 00:55:52.679
Fairfax is dead, Like he's not gonna last much longer,
1033
00:55:52.679 --> 00:55:55.920
so don't even worry about Fairfax. Right, And then Fairfax
1034
00:55:56.239 --> 00:56:02.920
is keenan Win and he's been actually targeting or aiming
1035
00:56:03.079 --> 00:56:05.079
Walker at all of these people.
1036
00:56:05.800 --> 00:56:09.679
Well, I think maybe it's a moment for Walker to
1037
00:56:09.760 --> 00:56:14.199
reflect on, like what has he really been accomplishing. He's
1038
00:56:14.239 --> 00:56:18.840
just been a tool for the guy he supposedly wants
1039
00:56:18.880 --> 00:56:20.960
to kill, you know, It's like he's just part of
1040
00:56:21.000 --> 00:56:21.639
the machine in.
1041
00:56:21.679 --> 00:56:24.800
A way, and I think his desire he doesn't own,
1042
00:56:25.320 --> 00:56:26.400
yes exactly.
1043
00:56:26.480 --> 00:56:29.280
I think there's an element of that to Walker's kind
1044
00:56:29.320 --> 00:56:33.320
of realization and reaction where it's like I don't even
1045
00:56:33.360 --> 00:56:35.199
want this money, I don't want that.
1046
00:56:35.280 --> 00:56:35.880
I'm not a.
1047
00:56:35.880 --> 00:56:38.519
Part of anything here anymore. I think there is an
1048
00:56:38.559 --> 00:56:41.079
element of that to this. So I thought that was interesting.
1049
00:56:41.159 --> 00:56:44.360
The twist felt to me like very pulpy, like it
1050
00:56:44.400 --> 00:56:47.800
felt like very genre, like not in the book. It
1051
00:56:47.880 --> 00:56:50.800
was not in the book interesting. It just felt like that,
1052
00:56:51.159 --> 00:56:53.360
it felt a little par for the courts, like, of course,
1053
00:56:53.400 --> 00:56:55.719
there's got to be something where the guy's like, aha,
1054
00:56:55.800 --> 00:56:58.960
like I'm actually Fairfax and I was controlling you the
1055
00:56:59.000 --> 00:57:02.039
whole time. It felt like, oh yeah, of course, and
1056
00:57:03.079 --> 00:57:06.760
maybe a little bit arbitrary, especially that late in the movie.
1057
00:57:07.199 --> 00:57:11.880
But I think it's more interesting because of that idea
1058
00:57:12.119 --> 00:57:15.320
of like you said, Walker doesn't even he can't even
1059
00:57:15.320 --> 00:57:18.119
control himself. He's just part of the machine. He's just
1060
00:57:18.199 --> 00:57:23.599
part of somebody else's game. And when the game ends
1061
00:57:23.679 --> 00:57:26.320
up being like you're you've sworn to kill off all
1062
00:57:26.320 --> 00:57:28.840
these men to get your money back or whatever it
1063
00:57:28.920 --> 00:57:31.400
is you want, and then that guy is actually pulling
1064
00:57:31.440 --> 00:57:33.119
your strings. It's like, what does that do to you?
1065
00:57:33.159 --> 00:57:35.800
What does that mean? It's an interesting change for the book.
1066
00:57:35.800 --> 00:57:36.880
But I think it's reflective.
1067
00:57:37.039 --> 00:57:39.800
I think going on, well, the book is a New
1068
00:57:39.880 --> 00:57:40.480
York book.
1069
00:57:40.599 --> 00:57:44.199
For one, Well, this feels like I mean, even though
1070
00:57:44.239 --> 00:57:46.159
it's in la I mean it's bright and sunny, it
1071
00:57:46.239 --> 00:57:49.679
still has like that New York vibe in a way,
1072
00:57:49.760 --> 00:57:52.000
like just that kind of like noir vibe.
1073
00:57:52.280 --> 00:57:54.880
I mean, like it's definitely hard boiled. I don't know
1074
00:57:54.920 --> 00:57:57.639
if I would necessarily think of it as noir, but
1075
00:57:58.400 --> 00:58:03.679
it's got the adude of well, of Richard Stark, It's
1076
00:58:03.719 --> 00:58:09.800
got the attitude of again Raymond Chandler, Dashel Hammett. But again,
1077
00:58:10.039 --> 00:58:12.760
I really do feel like, you know, I know you say,
1078
00:58:13.320 --> 00:58:16.199
you just said, like it feels like more contemporary than
1079
00:58:16.280 --> 00:58:20.679
other films of its era. I think it feels very sixties.
1080
00:58:20.719 --> 00:58:24.320
I feel like it's very of that turning point. I
1081
00:58:24.320 --> 00:58:28.400
think it's one of the unsung heroes of that shift
1082
00:58:28.400 --> 00:58:31.519
in cinema. Like you know, I imagine when people first
1083
00:58:31.559 --> 00:58:34.599
saw Marlon Brando act, and you know, you would watch
1084
00:58:34.639 --> 00:58:37.559
like The Wild One or on the Waterfront, and everyone
1085
00:58:37.599 --> 00:58:40.760
around Brando is acting the way that people did at
1086
00:58:40.800 --> 00:58:43.639
that time, and then here comes Brando with this very different,
1087
00:58:43.960 --> 00:58:48.599
naturalistic style performance, and he almost feels alien within the frame, right,
1088
00:58:48.599 --> 00:58:51.199
And I kind of feel like that's what point blank is.
1089
00:58:51.239 --> 00:58:54.079
It kind of feels alien within the context of the
1090
00:58:54.119 --> 00:58:57.559
other movies. But it fits in with the Graduate, it
1091
00:58:57.559 --> 00:58:59.440
fits in with Easy Writer, it fits in with two
1092
00:58:59.480 --> 00:59:00.840
thousand and one Space Odyssey.
1093
00:59:01.280 --> 00:59:05.840
Yeah, I think, I imagine, I think you're spot on,
1094
00:59:06.119 --> 00:59:08.800
and I imagine, just like, what is an audience going
1095
00:59:08.840 --> 00:59:12.039
into this thinking it is? Like you said, it perfectly
1096
00:59:12.440 --> 00:59:16.480
encapsulates this kind of new wave in American filmmaking and
1097
00:59:16.519 --> 00:59:20.920
studio filmmaking where they are adopting some of the techniques
1098
00:59:21.000 --> 00:59:25.559
and the storytelling ideas that you know, we've seen Troufa
1099
00:59:25.760 --> 00:59:29.119
do and some other Godard and other filmmakers do that
1100
00:59:29.360 --> 00:59:32.840
is off the beaten path, some stylistic choices, editing that
1101
00:59:33.480 --> 00:59:37.639
is not driven by story but driven by like psychology
1102
00:59:37.800 --> 00:59:42.639
and technique like things like that. And this film one
1103
00:59:42.719 --> 00:59:45.960
hundred percent feels like it's part of that turning point.
1104
00:59:46.199 --> 00:59:49.039
And I just wonder, like, what would it have been
1105
00:59:49.079 --> 00:59:50.960
like to sit in that movie theater and watch this
1106
00:59:51.000 --> 00:59:53.920
film Because it feels like a film that like I
1107
00:59:54.280 --> 00:59:57.000
don't know that I would casually recommend it to anybody,
1108
00:59:57.039 --> 00:59:58.320
Like it's like, oh, is it like you know, I'm
1109
00:59:58.320 --> 01:00:00.480
a big fan of thriller? Should I watch it? I
1110
01:00:00.519 --> 01:00:02.400
would say, like, you have to be a big fan
1111
01:00:02.480 --> 01:00:04.800
of film, like almost.
1112
01:00:04.559 --> 01:00:07.199
Like if you're a movie nerd, this is essential.
1113
01:00:07.480 --> 01:00:12.599
Yes, exactly. It's that John Borman wasn't necessarily like interested
1114
01:00:12.599 --> 01:00:15.840
in making a crime thriller. He was more interested in
1115
01:00:15.880 --> 01:00:20.519
making like a film nerds version of that in a way,
1116
01:00:20.559 --> 01:00:24.840
and I that that can be pretentious or maybe that
1117
01:00:24.880 --> 01:00:27.559
comes across his condescending, but it works here.
1118
01:00:27.480 --> 01:00:31.199
Like this is a moment of great change within Hollywood,
1119
01:00:31.199 --> 01:00:35.239
within movie making. I just watched Midnight Cowboy for the
1120
01:00:35.239 --> 01:00:40.039
first time, which comes out in sixty nine. In watching
1121
01:00:40.039 --> 01:00:42.239
Midnight Cowboy, I go, oh, yeah, that a lot of
1122
01:00:42.239 --> 01:00:46.400
that energy that's in this movie is in point blank
1123
01:00:46.920 --> 01:00:49.679
but John Borman is using that energy to tell a
1124
01:00:49.760 --> 01:00:53.519
pulp story, which is my favorite kind of genre. Like
1125
01:00:54.199 --> 01:00:56.960
easy Writer is really not my jam narratively, and Midnight
1126
01:00:57.000 --> 01:01:00.559
Cowboys not really my jam narratively. But point blank, yo,
1127
01:01:01.760 --> 01:01:05.840
I want to live and to see that style or
1128
01:01:05.880 --> 01:01:09.800
that influence in this genre at this time, I think
1129
01:01:09.880 --> 01:01:12.639
is what like elevates it to one of my favorite
1130
01:01:12.639 --> 01:01:13.320
movies for.
1131
01:01:13.400 --> 01:01:17.920
Yeah, well, Brad Gullikson, Yes, I think it also it
1132
01:01:18.000 --> 01:01:22.440
goes to show what what the director can bring to
1133
01:01:22.639 --> 01:01:26.440
the table, like what like it is? You know, again,
1134
01:01:26.880 --> 01:01:30.719
on paper, the script itself doesn't necessarily scream like yes,
1135
01:01:30.920 --> 01:01:32.840
this is going to be great, But it's like if
1136
01:01:32.840 --> 01:01:35.760
a filmmaker can latch onto an idea and say, here's
1137
01:01:35.760 --> 01:01:39.039
how I want to approach it, and here's what I
1138
01:01:39.119 --> 01:01:42.679
want to do cinematically to tell this story and make
1139
01:01:42.719 --> 01:01:46.679
it uniquely cinematic. I think that's what Point Blank does
1140
01:01:46.800 --> 01:01:49.679
and what's interesting about it, and especially as like a
1141
01:01:50.119 --> 01:01:52.599
student of film or a lover of film to watch
1142
01:01:52.639 --> 01:01:55.199
it from that sense, that's what it feels like to me.
1143
01:01:55.280 --> 01:01:57.199
It feels like a director, you know. One of my
1144
01:01:57.280 --> 01:01:59.639
favorite comparisons because for me it was a big breakthrough
1145
01:01:59.639 --> 01:02:03.960
moment as a film fan was seeing Harry Potter and
1146
01:02:04.000 --> 01:02:07.079
The Prisoner of Azkaban after watching the first two films
1147
01:02:07.400 --> 01:02:10.719
and not knowing anything about Alfonso Quran, just being a
1148
01:02:10.719 --> 01:02:13.320
Harry Potter fan and having enjoyed the first two films,
1149
01:02:13.320 --> 01:02:18.280
but then seeing what happened when like a truly masterful
1150
01:02:18.320 --> 01:02:21.199
filmmaker comes in and says, all right, now, I'm gonna
1151
01:02:21.199 --> 01:02:27.800
interpret this like Chris Columbus. Like I love Chris Columbus, by.
1152
01:02:27.679 --> 01:02:29.559
The way, and I don't think that he is kind
1153
01:02:29.559 --> 01:02:32.400
of a masterful filmmaker within his realm.
1154
01:02:32.840 --> 01:02:35.039
Yes, and I don't think I'm not trying to knock
1155
01:02:35.280 --> 01:02:38.519
Sorcerer's Stone and Chamber of Secrets, But Alfonso Quran is
1156
01:02:38.559 --> 01:02:42.239
a different breed of filmmaker Chris Columbus, And I think
1157
01:02:42.320 --> 01:02:44.519
point Blank is similar in a way where it's like
1158
01:02:44.639 --> 01:02:48.920
you you see a crime thriller, just a straightforward crime
1159
01:02:48.920 --> 01:02:52.199
filler versus like what John Borman wanted to do, and
1160
01:02:52.239 --> 01:02:54.880
you see it's like when I watched Prisoner of Azkaban
1161
01:02:54.960 --> 01:02:59.639
for the first time, I was fully cognizant of like, oh,
1162
01:02:59.800 --> 01:03:02.519
this this is what a filmmaker can do when they
1163
01:03:02.559 --> 01:03:05.159
have a particular vision. This is what they can do
1164
01:03:05.199 --> 01:03:08.159
with source material when they're like and here's how I
1165
01:03:08.239 --> 01:03:08.679
want to.
1166
01:03:09.079 --> 01:03:11.320
That story makes me feel so old, Sean.
1167
01:03:12.559 --> 01:03:14.679
That was I mean, it was a big moment for me.
1168
01:03:14.719 --> 01:03:15.199
Sure it was.
1169
01:03:15.239 --> 01:03:18.719
I'm sure it was. I was I think graduating from
1170
01:03:18.760 --> 01:03:23.440
college by that point. I think a great like a
1171
01:03:23.440 --> 01:03:26.239
little bit of homework a person could do after watching
1172
01:03:26.320 --> 01:03:30.000
Point Blank is to watch the nineteen ninety nine Brian
1173
01:03:30.280 --> 01:03:34.880
Hageland adaptation of The Hunter Payback starring Mel Gibson.
1174
01:03:35.360 --> 01:03:36.679
Yeah, I'm very curious.
1175
01:03:36.840 --> 01:03:41.239
And he's not Walker, he's not Parker. He's Porter in Payback,
1176
01:03:42.280 --> 01:03:44.639
which I love that. I love that. Again, Donald westlike
1177
01:03:44.760 --> 01:03:48.400
was like nobody can call him Parker, and I actually
1178
01:03:48.440 --> 01:03:54.239
really love Brian Helgeland's interpretation. But it is vastly different,
1179
01:03:54.400 --> 01:04:00.079
and it is also very late nineties but strong. You
1180
01:04:00.119 --> 01:04:02.960
do have to watch the straight up director's cut edition,
1181
01:04:03.079 --> 01:04:05.079
don't watch the theatrical cut.
1182
01:04:05.400 --> 01:04:09.000
Okay, interesting, Yeah, I'm very curious about that now. And
1183
01:04:09.039 --> 01:04:12.800
what there was another film with Robert de Vall, wasn't.
1184
01:04:12.559 --> 01:04:15.679
There, The Outfit. That's a different story. The Outfit's a
1185
01:04:15.679 --> 01:04:19.400
different novel, but it's the Parker character. Again, Robert Deval
1186
01:04:19.480 --> 01:04:24.079
doesn't play a character named Parker. There's also one in
1187
01:04:24.119 --> 01:04:27.639
which Jim Brown, the football player, plays the Parker role.
1188
01:04:28.760 --> 01:04:31.119
That is which one is that? I think it's the setup.
1189
01:04:31.880 --> 01:04:32.760
It can't be wrong.
1190
01:04:33.360 --> 01:04:35.519
I'll look that up as we're talking. And then like
1191
01:04:35.639 --> 01:04:39.199
Jean Lucadar did Made in USA, which is a Parker
1192
01:04:39.320 --> 01:04:40.079
book as well.
1193
01:04:40.280 --> 01:04:44.960
Interesting, so interesting, and it's it's so funny because point
1194
01:04:44.960 --> 01:04:47.880
Blank feels so much like again, it's part of that
1195
01:04:48.480 --> 01:04:49.519
new wave of cinema.
1196
01:04:49.599 --> 01:04:52.360
But that is the Jim Brown movie.
1197
01:04:52.519 --> 01:04:53.400
Okay, gotcha.
1198
01:04:53.519 --> 01:04:55.920
Gene Hackman's in that too. I think it's Gene Hackman's
1199
01:04:56.079 --> 01:04:57.519
very first theatrical role.
1200
01:04:58.039 --> 01:05:01.320
Oh wow, well did you so? I thought this is interesting?
1201
01:05:01.440 --> 01:05:04.599
I was reading, uh that Tarantino is not a big
1202
01:05:04.639 --> 01:05:07.440
fan of this film point Blank. Did you have you
1203
01:05:07.480 --> 01:05:07.840
read this?
1204
01:05:08.039 --> 01:05:12.199
I have, and you know, fair whatever Tarantino. Tarantino doesn't
1205
01:05:12.239 --> 01:05:13.960
like a lot of things. But you know who loves
1206
01:05:14.000 --> 01:05:20.360
this is Steven Soderbergh. Yes, Soderbergh's movies. You go like, yeah, yeah, yeah.
1207
01:05:19.639 --> 01:05:21.920
I mean he's he's flat out like, oh, I think
1208
01:05:22.239 --> 01:05:25.199
I was reading that they were doing the commentary for
1209
01:05:25.280 --> 01:05:26.199
Point Planks together.
1210
01:05:26.239 --> 01:05:27.800
Yeah, yeah, I listen to it. It's great.
1211
01:05:28.159 --> 01:05:30.119
Yeah, I would love to watch it. And John Borman
1212
01:05:30.159 --> 01:05:32.559
there's one point where Borman goes like, oh, yeah, a
1213
01:05:32.599 --> 01:05:35.159
lot of people have have been inspired by this moment
1214
01:05:35.159 --> 01:05:38.360
in the film and ripped it off, and Soderberg goes, yeah,
1215
01:05:38.480 --> 01:05:39.679
I've I've ripped this off.
1216
01:05:39.519 --> 01:05:41.920
Many well, and then that's your other bit of homework
1217
01:05:42.039 --> 01:05:46.599
is to watch Steven Soderbergh's The Limey, which really really
1218
01:05:46.719 --> 01:05:51.639
tries to adapt not the narrative, but the editing style,
1219
01:05:51.960 --> 01:05:55.559
the sound design, the visuals of Point Blank.
1220
01:05:55.920 --> 01:06:01.159
Now, I feel like with Tarantino knocking my my dear
1221
01:06:01.199 --> 01:06:04.480
friend Paul Dano and my other dear friend Matthew Lillard,
1222
01:06:04.800 --> 01:06:06.760
and then on top of that, like having watched this
1223
01:06:06.840 --> 01:06:10.000
film and just reading his kind of condescending comments about it,
1224
01:06:10.440 --> 01:06:14.000
I'm just sort of like, what are you missing here?
1225
01:06:14.320 --> 01:06:18.639
I mean, like, to me, like Tarantino is very much
1226
01:06:18.639 --> 01:06:21.920
a film nerd, with very much film nerd opinions. Yes,
1227
01:06:21.960 --> 01:06:24.400
he's gonna, you know, highlight some things that you would
1228
01:06:24.400 --> 01:06:26.199
be surprised by, and he's gonna take a dump on
1229
01:06:26.519 --> 01:06:28.760
other things that you'd be surprised by. That's what I
1230
01:06:28.800 --> 01:06:31.480
want Tarantino to do. It's like when Martin Scorsaise comes
1231
01:06:31.480 --> 01:06:33.920
out and says like, I don't like superhero movies. I'm
1232
01:06:33.960 --> 01:06:37.360
not mad at Martin Scorsese for not liking superhero movies.
1233
01:06:37.360 --> 01:06:39.400
I kind of expect him not to like superhero movies
1234
01:06:39.440 --> 01:06:42.480
based on the movies he makes, So it's totally cool.
1235
01:06:42.719 --> 01:06:45.079
You're not into Marvel. I'm into Marvel, fine.
1236
01:06:44.920 --> 01:06:48.719
Yeah, and Tarantina Tarantino, Yeah, go ahead and give me
1237
01:06:48.800 --> 01:06:52.480
that how five thousand word essay about how great Superman
1238
01:06:52.519 --> 01:06:56.480
Returns is, And eventually maybe that'll happen. I mean, we're
1239
01:06:56.519 --> 01:06:59.199
finally getting the whole bloody affair. He'll build the whole
1240
01:06:59.199 --> 01:07:03.280
blood affair. So I'm not putting that idea to bed yet.
1241
01:07:03.039 --> 01:07:04.039
Big Superman return.
1242
01:07:04.199 --> 01:07:05.559
He loved Superman Returns.
1243
01:07:05.599 --> 01:07:08.239
And why see that's one of those insane opinions.
1244
01:07:07.840 --> 01:07:12.639
Shots exactly exactly. So he insists that he's written some
1245
01:07:12.679 --> 01:07:15.280
sort of love letter to the film and it's never
1246
01:07:15.360 --> 01:07:18.480
been released, and will it be released? Like I said,
1247
01:07:18.639 --> 01:07:20.880
I was never expecting to see the whole bloody affair,
1248
01:07:20.920 --> 01:07:25.639
but we got it, so maybe, just maybe, where.
1249
01:07:25.440 --> 01:07:27.280
Do you fall on the whole bloody affair? Are you
1250
01:07:27.639 --> 01:07:29.960
team I like it as two movies or I'm only
1251
01:07:30.039 --> 01:07:32.039
gonna watch it as the whole bloody affair going forward.
1252
01:07:32.280 --> 01:07:35.360
Still haven't seen the whole bloody off, so I'm curious,
1253
01:07:35.719 --> 01:07:37.719
very curious, because that's going to be out soon on
1254
01:07:37.840 --> 01:07:41.599
four K. Well, I'm team two movies Okay, I because
1255
01:07:41.639 --> 01:07:46.079
I loved Kill Bill Volume one. In Volume two, those
1256
01:07:46.079 --> 01:07:49.679
are my first Tarantino films again and a real old man,
1257
01:07:50.239 --> 01:07:54.400
those are my first Tarantino films. And I part of
1258
01:07:54.440 --> 01:07:59.239
the reason I loved Volume two so much is because
1259
01:07:59.280 --> 01:08:02.400
it was a second film. Yeah, and it felt so
1260
01:08:02.760 --> 01:08:06.559
different from Volume one. And I remember people telling me, oh,
1261
01:08:06.679 --> 01:08:08.840
Volume two is so boring and dead it end. I
1262
01:08:08.920 --> 01:08:11.320
watched it and I was like, I love this for
1263
01:08:11.400 --> 01:08:14.440
completely different reasons than I love the first one. Like
1264
01:08:15.280 --> 01:08:18.079
it does something, it's a different flavor. So there's a
1265
01:08:18.119 --> 01:08:21.439
part of me that feels because that love was ingrained
1266
01:08:21.920 --> 01:08:24.319
so early on. I probably am going to watch the
1267
01:08:24.359 --> 01:08:26.800
whole Bloody Affair and say, like, yeah, it's cool to
1268
01:08:26.800 --> 01:08:30.920
see them together, but I like to watch them both
1269
01:08:30.960 --> 01:08:32.199
as their own films.
1270
01:08:32.279 --> 01:08:33.960
Well that's how I feel, exactly.
1271
01:08:34.039 --> 01:08:37.399
Yeah, Yeah, okay, good, So Quentin Tarantino. We've agreed that
1272
01:08:37.800 --> 01:08:41.119
we don't agree on anything with Tarantino and that he's
1273
01:08:41.119 --> 01:08:42.119
wrong about point blank.
1274
01:08:42.479 --> 01:08:45.600
He's wrong a lot of things. That's all cubs are.
1275
01:08:45.880 --> 01:08:48.039
Yes, it's true, and he's great. His movies are great.
1276
01:08:48.039 --> 01:08:48.439
I love you.
1277
01:08:49.319 --> 01:08:52.399
Anything else? What else about point blank? Any other questions
1278
01:08:52.399 --> 01:08:55.520
for me any feelings with this latest viewing that came
1279
01:08:55.560 --> 01:08:56.159
to the surface.
1280
01:08:56.439 --> 01:08:59.000
Like the biggest surprise was, oh shit, that's Sid Hagen
1281
01:08:59.039 --> 01:09:01.920
the lobby. I had not noticed that before. I had
1282
01:09:01.960 --> 01:09:05.920
to go to IMDb and confirm it, but it is true.
1283
01:09:06.039 --> 01:09:10.159
I really really enjoyed Carol O'Connor's performance this time around
1284
01:09:10.279 --> 01:09:14.000
as Brewster. You know, he comes in late to the party. Like,
1285
01:09:14.399 --> 01:09:17.880
I think the first half of this movie is superior
1286
01:09:17.960 --> 01:09:20.880
to the back half of the film. I still really
1287
01:09:20.920 --> 01:09:25.439
like the back half, but I think I enjoyed Brewster's
1288
01:09:25.479 --> 01:09:28.119
house sequence more than I've ever had before.
1289
01:09:28.560 --> 01:09:33.680
I enjoyed it because he's so We've already seen these businessmen,
1290
01:09:34.239 --> 01:09:38.079
and we've seen Reese behave in these kind of like
1291
01:09:38.119 --> 01:09:41.720
sniffling like oh no, how dare you? And Brewster is
1292
01:09:41.760 --> 01:09:44.399
like he's like the slimmy business guy. He's like, Hey,
1293
01:09:44.399 --> 01:09:45.359
what can I do for you?
1294
01:09:45.399 --> 01:09:47.960
Like I love you?
1295
01:09:47.960 --> 01:09:48.000
Know.
1296
01:09:48.760 --> 01:09:52.239
Uh, He's walking into his house. He doesn't want to
1297
01:09:52.239 --> 01:09:55.680
be back in California. His pool isn't heated.
1298
01:09:55.359 --> 01:10:00.239
He's so bad, but he's like it's just like I
1299
01:10:00.359 --> 01:10:03.960
feel like, in a lot of ways, I am Brewster.
1300
01:10:04.680 --> 01:10:06.760
If I if I walked into a room and this
1301
01:10:06.800 --> 01:10:09.039
guy is like, where's my ninety three thousand dollars? And
1302
01:10:09.079 --> 01:10:10.199
I'm a position.
1303
01:10:10.279 --> 01:10:12.439
He doesn't just walk into the room, though, because he
1304
01:10:12.560 --> 01:10:16.119
comes in as he walks and he passes Walker, who's
1305
01:10:16.119 --> 01:10:19.439
on the other side of the door, beats his driver.
1306
01:10:19.680 --> 01:10:21.720
He takes the butt of his gun and hits his
1307
01:10:21.800 --> 01:10:24.760
driver right in the face, knocking him out cold, and
1308
01:10:25.399 --> 01:10:28.520
Brewster knows immediately without turning around, that it is Walker.
1309
01:10:28.880 --> 01:10:31.479
And then when he turns around, Carol Connor delivers that
1310
01:10:31.560 --> 01:10:33.920
great line of like, you're a very bad man Parker,
1311
01:10:34.039 --> 01:10:37.439
or you're a very bad man Walker. Like I love
1312
01:10:37.520 --> 01:10:38.600
that line delivery.
1313
01:10:38.800 --> 01:10:40.880
It's so good good. But he's like he's also just
1314
01:10:40.920 --> 01:10:43.039
like he knows he's cooked, but he's like, hey, what
1315
01:10:43.079 --> 01:10:43.800
can I do to help?
1316
01:10:43.960 --> 01:10:46.439
Like it's just like he doesn't know he's cooked in
1317
01:10:46.520 --> 01:10:49.920
the way that Reese knows he's cooked. Yes, Like when
1318
01:10:49.960 --> 01:10:53.199
Reese is confronted, Reese is like, I am now dead, yeah,
1319
01:10:53.239 --> 01:10:57.399
and I just want to be ended, whereas Still thinks
1320
01:10:57.399 --> 01:11:00.439
he has one up on Fairfax and.
1321
01:11:00.359 --> 01:11:04.359
Then it is that he does not exactly, but yeah,
1322
01:11:04.359 --> 01:11:07.079
you're right. I really enjoyed that moment. I enjoyed watching
1323
01:11:07.159 --> 01:11:10.439
it I love when he calls Fairfax on the phone
1324
01:11:10.600 --> 01:11:14.439
and then Walker just blasts the phone away. It's such
1325
01:11:14.479 --> 01:11:17.680
a great moment. And again, like this moment, this film
1326
01:11:17.760 --> 01:11:21.399
is Lee Marvin's performance. It's like he's quiet. He's quiet
1327
01:11:21.800 --> 01:11:24.159
until he's not, and then something big happens and then
1328
01:11:24.159 --> 01:11:25.840
he's quiet again, and he's just kind of like.
1329
01:11:26.039 --> 01:11:30.920
Lee Marvin is a great actor. I think people dismiss
1330
01:11:31.000 --> 01:11:34.560
him as just being Lee Marvin. But watch point Blank,
1331
01:11:34.960 --> 01:11:39.319
watch The Dirty Dozen, Watch The Big Red One. This
1332
01:11:39.359 --> 01:11:42.439
guy is doing things. Gears, you see them turning in
1333
01:11:42.520 --> 01:11:45.760
his head. Watch his other John Borman movie, Helen the Pacific.
1334
01:11:46.239 --> 01:11:49.600
Yeah, I would love to watch that, just because Tashiramfune
1335
01:11:49.840 --> 01:11:51.640
just seeing him and that would I want.
1336
01:11:51.520 --> 01:11:54.840
You Sean to go on a John Borman journey. I
1337
01:11:54.840 --> 01:11:58.640
would love to deliver this. Yeah.
1338
01:11:58.720 --> 01:12:02.319
Well, honestly I have seen I don't know that I've
1339
01:12:02.359 --> 01:12:07.279
seen Lee Marvin and anything either. Maybe I'm looking at
1340
01:12:07.279 --> 01:12:10.680
his filmography just to make sure, but I haven't seen
1341
01:12:10.680 --> 01:12:14.520
The Dirty Dozen? What else? What are the other oh
1342
01:12:14.600 --> 01:12:15.199
Big Red.
1343
01:12:15.439 --> 01:12:19.319
Favorite Lee Marvin movie? I like it, Well, I don't
1344
01:12:19.359 --> 01:12:21.680
like it as much as point Blank. My second favorite
1345
01:12:22.000 --> 01:12:24.399
Lee Marvin movie is the movie he does with Burt
1346
01:12:24.520 --> 01:12:29.399
Lancaster Western set in like the nineteen teens twenties called
1347
01:12:29.439 --> 01:12:32.880
The Professionals. Okay, I highly recommend that. And if you
1348
01:12:32.920 --> 01:12:38.680
want a true blue noir with Lee Marvin and Lee
1349
01:12:38.720 --> 01:12:43.399
Marvin is the bad guy hell man, he has a
1350
01:12:43.399 --> 01:12:45.479
bad time with some coffee in this film, it's called
1351
01:12:45.479 --> 01:12:49.560
The Big Heat, and you gotta watch The Big Heat.
1352
01:12:50.560 --> 01:12:54.560
Well, you know what's great about his performance in this
1353
01:12:54.600 --> 01:12:58.640
film is how quiet it is, Like you said, you
1354
01:12:58.640 --> 01:13:03.399
can see the gears turning, and it's it is so
1355
01:13:03.640 --> 01:13:07.279
effective and powerful. And I think sometimes with actors like
1356
01:13:08.279 --> 01:13:10.560
you think of the big powerful moments as like these
1357
01:13:10.680 --> 01:13:13.119
huge like I think, you know Tom Cruise and Magnolia
1358
01:13:13.199 --> 01:13:15.560
when he's talking to his dad and just like in
1359
01:13:15.760 --> 01:13:18.920
pure agony and pain as he's pouring out his heart.
1360
01:13:19.079 --> 01:13:22.439
You know, there are great moments like that, great performances
1361
01:13:22.479 --> 01:13:25.279
that one hundred percent that's an incredible performance. But then
1362
01:13:25.319 --> 01:13:28.199
their performances like this where it's like just the quiet, yeah,
1363
01:13:28.239 --> 01:13:33.520
and the the stillness of it and just like the eyes,
1364
01:13:33.560 --> 01:13:36.439
there's so much going on there. And I mean Lee Marvin,
1365
01:13:36.520 --> 01:13:39.800
he's a guy who who saw a lot. Yeah, there's
1366
01:13:39.840 --> 01:13:42.399
a lot of that pain. Yes, there's a lot of
1367
01:13:42.399 --> 01:13:45.880
that pain you feel in this character and channeled into
1368
01:13:45.920 --> 01:13:50.199
this performance. It's it's haunting, is how I would describe it.
1369
01:13:50.239 --> 01:13:52.840
The film is haunting, the performance is haunting. Yeah, it's
1370
01:13:52.880 --> 01:13:57.239
a haunted movie, yes, exactly. Not literally. It's not because
1371
01:13:57.279 --> 01:13:59.880
he's a ghost. It's not because he's really dead. It
1372
01:14:00.199 --> 01:14:05.199
because like it is, that's just not we said it already.
1373
01:14:05.199 --> 01:14:07.239
But it's not an interesting take to me. It just
1374
01:14:07.239 --> 01:14:09.159
feels too easy to be like, it's all a dream,
1375
01:14:09.199 --> 01:14:12.560
it's all happening in his head. I'm like, then what why,
1376
01:14:12.760 --> 01:14:16.479
Like it's just waring. That's it's not as interesting. It
1377
01:14:17.800 --> 01:14:20.199
it robs the film of its power, which is like
1378
01:14:20.520 --> 01:14:24.000
it's a sad film. It's a film like that's it's
1379
01:14:24.000 --> 01:14:26.439
fun to watch, but it's ultimately kind of a sad
1380
01:14:26.479 --> 01:14:31.439
movie where this guy is just completely there's nothing left
1381
01:14:31.720 --> 01:14:34.119
at the end. He just kind of walks through this
1382
01:14:34.199 --> 01:14:36.319
life trying to get what he wants, and then when
1383
01:14:36.319 --> 01:14:39.399
that moment is presented to him, even then he's like,
1384
01:14:40.760 --> 01:14:42.960
I guess I don't really want that either, And that's that.
1385
01:14:43.359 --> 01:14:47.399
So here's my favorite Lee Marvin piece of trivia for
1386
01:14:47.479 --> 01:14:51.479
the day, Sean, I'm learning this now. He turned down
1387
01:14:51.520 --> 01:14:56.239
the role of Quint in Jaws Spielberg offered it to him,
1388
01:14:56.680 --> 01:15:01.760
and the reason he apparently declined that role his quote,
1389
01:15:02.399 --> 01:15:05.760
what would I What would I tell my fishing friends
1390
01:15:06.039 --> 01:15:08.479
who'd see me come off as a hero against a
1391
01:15:08.600 --> 01:15:09.359
dummy shark?
1392
01:15:13.000 --> 01:15:14.880
I mean, fair enough? Fair enough?
1393
01:15:15.119 --> 01:15:15.279
Oh?
1394
01:15:15.319 --> 01:15:16.640
I did you know what I'm looking at?
1395
01:15:16.720 --> 01:15:16.840
Uh?
1396
01:15:17.399 --> 01:15:19.880
I did see him in an episode of twilight Zone.
1397
01:15:20.159 --> 01:15:22.000
Yeah, yeah, good twilight Zone episode.
1398
01:15:22.239 --> 01:15:28.560
Yes, I think the boxing one steel human postal boxing.
1399
01:15:28.199 --> 01:15:31.079
Hugh Jackman would would be in that adaptation.
1400
01:15:31.720 --> 01:15:35.039
That's right, That's right. But anyway, there's a lot of
1401
01:15:35.039 --> 01:15:37.439
stuff I need to like. This definitely feels like.
1402
01:15:37.359 --> 01:15:41.960
A gold Man The Killers you should watch too, Ronald
1403
01:15:42.039 --> 01:15:43.079
Reagan the bad guy in that.
1404
01:15:43.960 --> 01:15:44.800
Oh great?
1405
01:15:45.159 --> 01:15:49.319
Yeah, but the professionals you should seek out for sure.
1406
01:15:49.720 --> 01:15:53.960
Okay, yeah, no, this this is a it's a fascinating
1407
01:15:54.000 --> 01:15:55.479
film and it was not on my radar at all
1408
01:15:55.560 --> 01:15:56.439
until you brought it up.
1409
01:15:56.800 --> 01:15:57.319
What a delight.
1410
01:15:57.399 --> 01:16:00.479
Thanks, thank you for the introduction. What do we do
1411
01:16:00.479 --> 01:16:03.119
we want to do our ratings? How many loud footsteps
1412
01:16:03.199 --> 01:16:07.520
or loud footsteps is good? How many footsteps would you give?
1413
01:16:08.079 --> 01:16:08.680
Point blank?
1414
01:16:09.039 --> 01:16:11.039
I mean, this is one of my favorite movies. I
1415
01:16:11.119 --> 01:16:14.920
give it five, Like that rating is not as interesting
1416
01:16:14.960 --> 01:16:16.239
as whatever your rating is.
1417
01:16:16.680 --> 01:16:18.640
I think it's a I mean I would give it four,
1418
01:16:18.680 --> 01:16:22.920
which tell you singles it's great. I think it's a
1419
01:16:22.960 --> 01:16:26.680
weird movie. It's unconventional, and it's something that I think
1420
01:16:26.680 --> 01:16:28.600
the more you meditate on it and think about it,
1421
01:16:28.640 --> 01:16:32.079
the more interesting it becomes, and you're like, oh, yeah,
1422
01:16:32.119 --> 01:16:34.479
there's some cool stuff happening in this film that I
1423
01:16:35.479 --> 01:16:40.239
think merits repeat viewings. So thank you, Thank you Brad
1424
01:16:40.279 --> 01:16:41.880
for the introduction.
1425
01:16:41.720 --> 01:16:43.760
My absolute pleasure, shun.
1426
01:16:44.159 --> 01:16:46.680
And then I got to figure out what's next for you.
1427
01:16:46.920 --> 01:16:50.600
I have no idea, no idea. It's so much easier
1428
01:16:50.640 --> 01:16:53.079
for you. Yeah, I'll figure it out. We'll figure it out.
1429
01:16:53.279 --> 01:16:55.279
But Brad, tell the good people at home where they
1430
01:16:55.279 --> 01:16:57.600
can find you out there on the internet, should they
1431
01:16:57.640 --> 01:16:58.359
so desire.
1432
01:16:58.920 --> 01:17:01.039
My wife and I do a podcast called Comic Book
1433
01:17:01.079 --> 01:17:04.199
Couples Counseling where every week we talked to some rad
1434
01:17:04.239 --> 01:17:07.880
comic book creator about some rad comic book. It is
1435
01:17:08.239 --> 01:17:12.439
Comic Con season, San Diego. Comic Con is just days
1436
01:17:12.479 --> 01:17:16.720
away from the publication of this episode. I'm assuming Lisa
1437
01:17:16.720 --> 01:17:19.039
and I will be at Comic Con. We're dropping an
1438
01:17:19.039 --> 01:17:23.399
episode a day during Comic Con. Hopefully haven't recorded him yet,
1439
01:17:23.479 --> 01:17:26.920
so you ever, though might not actually happens.
1440
01:17:27.159 --> 01:17:29.760
I'm gonna I'm gonna text you guys every day where's
1441
01:17:29.800 --> 01:17:30.359
the episode.
1442
01:17:30.359 --> 01:17:32.279
But if you're a comic book geek, like I think
1443
01:17:32.319 --> 01:17:35.000
you'll have a real good time with the show. We've
1444
01:17:35.000 --> 01:17:38.279
got episodes with Christian Ward coming up. Matt Fraction and
1445
01:17:38.319 --> 01:17:41.840
Kelly Sudiconic joined the show together. That's a fun like
1446
01:17:42.159 --> 01:17:47.159
married couple episode. We've got an episode with Frank Miller
1447
01:17:47.279 --> 01:17:52.159
that we just dropped long ago, like really really proud
1448
01:17:52.359 --> 01:17:54.560
of that that we have built a podcast in which
1449
01:17:54.560 --> 01:17:56.279
Frank Miller might show up sometimes.
1450
01:17:56.319 --> 01:17:58.720
That's pretty and tying it back into this character at
1451
01:17:58.720 --> 01:18:01.399
this point blank character is it? They're a Darwin Cook
1452
01:18:01.439 --> 01:18:03.000
adaptation of some of these novels.
1453
01:18:03.079 --> 01:18:06.119
Oh my god. That's the thing, Like, like what I
1454
01:18:06.119 --> 01:18:08.760
would love if you like this movie, Sean, I would
1455
01:18:08.760 --> 01:18:11.039
love for you to start reading the Richard Stark books
1456
01:18:11.439 --> 01:18:13.720
The Hunter to check a Man with a getaway face,
1457
01:18:16.000 --> 01:18:19.079
and then read the graphic novels, or you can just
1458
01:18:19.119 --> 01:18:21.439
read the graphic novels because the graphic novels by Darwin
1459
01:18:21.520 --> 01:18:26.000
Cook are extremely faithful to the novels themselves. I mean
1460
01:18:26.039 --> 01:18:29.560
he's pulling the language right out of those books and
1461
01:18:29.560 --> 01:18:31.159
putting him into his comments that they.
1462
01:18:31.199 --> 01:18:34.079
That feels like beautiful, that feels like the perfect marriage.
1463
01:18:34.319 --> 01:18:39.359
Yeah great. And then I will another weird tidbit looking
1464
01:18:39.399 --> 01:18:43.000
at Lee Marvin's Wikipedia page. He died on the day
1465
01:18:43.119 --> 01:18:46.439
my wife Sarah was born August twenty ninth, nineteen eighty seven.
1466
01:18:46.479 --> 01:18:46.840
Wild.
1467
01:18:47.119 --> 01:18:51.319
So there we go, and he's buried just in my backyard.
1468
01:18:51.439 --> 01:18:53.640
No, he's almost buried in my backyard. He's in an
1469
01:18:53.680 --> 01:18:54.920
Arlwando National Cemetery.
1470
01:18:55.079 --> 01:18:55.600
Oh wow.
1471
01:18:55.800 --> 01:18:59.279
He's buried next to Joe Lewis, not too far from
1472
01:18:59.279 --> 01:19:03.039
where Kennedy is. And I go to Lee Marvin's grave
1473
01:19:03.039 --> 01:19:05.279
all the time. And then you can go visit my grandfather,
1474
01:19:05.560 --> 01:19:09.279
Gully Gulliksen, and you can visit Dashel Hammett is there too,
1475
01:19:09.319 --> 01:19:12.720
Bill Mauldlin. Lots of cool people, crazy, lots of cool
1476
01:19:12.720 --> 01:19:13.239
dead people.
1477
01:19:13.760 --> 01:19:16.560
That's cool dead people. And I well, I'm here on
1478
01:19:16.640 --> 01:19:19.720
Missing Frames and you can also find me on Twitter
1479
01:19:19.800 --> 01:19:22.720
at a chondor Man, on letterbox schond Doorman, oh five
1480
01:19:22.920 --> 01:19:28.359
and on Instagram. Just Planel shondor plug the franchise boys again.
1481
01:19:28.640 --> 01:19:31.600
Plug all the franchise boys who are a part of
1482
01:19:31.720 --> 01:19:35.560
the They're under the Missing Frames umbrella, the franchise boys.
1483
01:19:35.600 --> 01:19:39.159
It's me, it's Brad, it's Aaron Prescott. We go through
1484
01:19:40.159 --> 01:19:43.840
every all the franchises. We watch every single movie you
1485
01:19:43.840 --> 01:19:46.039
can think of. Sometimes we have to split it up.
1486
01:19:46.079 --> 01:19:50.159
We watched five million Godzilla films. Recently. We just did
1487
01:19:50.199 --> 01:19:53.560
the Planet of the Apes, the first five films, and
1488
01:19:53.600 --> 01:19:57.800
we are gonna be returning soon to do the modern takes.
1489
01:19:57.840 --> 01:20:00.000
And yes we'll do the Tim Burton film as well.
1490
01:20:00.039 --> 01:20:01.239
We'll throw that one a little low.
1491
01:20:01.359 --> 01:20:03.319
I'm weirdly looking forward to that one the most.
1492
01:20:03.720 --> 01:20:06.680
I'm very excited the franchise boys are at the point
1493
01:20:06.720 --> 01:20:09.960
where they might need their own podcast franchise because it's there.
1494
01:20:10.319 --> 01:20:13.000
We're already doing too much and you and Lisa are
1495
01:20:13.199 --> 01:20:15.840
so busy all the time. But I always love the frames.
1496
01:20:15.840 --> 01:20:18.640
I'm just happy that we're talking about movies on Missing
1497
01:20:18.680 --> 01:20:20.359
Frames and not just Super Bad Man.
1498
01:20:21.720 --> 01:20:24.720
It's a blast. It's always a blast. But thank you, Brad,
1499
01:20:24.840 --> 01:20:28.079
and we will see all of you at the movies