Walter Hill’s long directing resume had a number of interesting genre movies early in his career (Southern Comfort, The Warriors, The Driver, The Long Riders) but 48 Hrs. stands out not only as a gritty piece of cop pulp, but as the slam bang debut of the then edgy 21-year old Eddie Murphy, transforming the usually dour Hill formula into a funny, action comedy and one of the best films of both Hill and Murphy’s career. And frankly neither has ever lived up to the promise 48 Hrs. showed for both of them. Murphy has enjoyed some massive mainstream success but for the most part, both he and Hill most have spent the last couple decades treading between mediocre, dull, and lame.
Writing the screenplay for tough guy director Sam Peckinpah’s The Getaway in the early '70s got Hill going in the business. He got his start directing soon after with the Bronson/Coburn fight fest Hard Times. He would carry on the Peckinpah legacy with films about badass guys who live in a hard-boiled world under a certain violent code (with underwhelming women’s roles, usually as hookers). With The Warriors Hill would score a bonafide hit, though it’s dark and ugly it would turn away from the Peckinpah realism into comic book territory, a style Hill would take to the max with his 48 Hrs. follow up, the action rock ‘n roll musical dud Streets Of Fire. With 48 Hrs. Hill would go back to gritty realism but find some humor, mostly because of his intensely funny actor discovery.Continue Reading
After his great little run of action films from 1975 - 1982 that included The Driver, The Warriors, Southern Comfort and 48 Hrs, gritty director Walter Hill wandered in the wrong direction with the action musical Streets of Fire and the unfunny Richard Pryor comedy Brewster’s Millions. Even though he would go on to have a big hit with the Schwarzenegger muscle bore Red Heat, most of his flicks had potential but oddly fell short (Johnny Handsome, Wild Bill). He did do an underrated urban thriller, Trespass, but otherwise nothing reached that earlier high.
Hill started out as a writer and one of his first credited screenplays was for Sam Peckinpah’s mean spirited thriller, The Getaway. So Hill’s 1987 Tex-Mex action flick Extreme Prejudice, though completely ignored by audiences in its day, now plays as a perfect homage to his one-time boss, Peckinpah (The Wild Bunch, Straw Dogs), the master of masculine violence who had burned out and died a few years earlier. With about as good a cast of tough guy character actors you could find in 1987 (including Nick Nolte, Powers Boothe, Michael Ironside, Rip Torn, Clancy Brown and William Forsythe), time has been kind to Extreme Prejudice. Though it’s set in modern day, it’s now starting to look like one of the better “Westerns” made in 1980s.Continue Reading
After his death, Steve McQueen reached rebel-cool icon status based on his off-screen machismo (racing cars and motorcycles, martial arts with Bruce Lee, stealing Robert Evans’ wife) and partly on his actual film resume, which in retrospect isn’t as great as you would expect. His peak years start in ’63 with his one masterpiece, The Great Escape (he did the overrated but still influential Western The Magnificent Seven a few years earlier), a couple of big hits that now feel more like remake-bait time capsules (The Thomas Crown Affair and The Cincinnati Kid), and of course there is also Bullitt, largely famous for its amazing high-speed San Francisco auto chases. But for the most part the late sixties were rounded out with forgotten melodramas (Love with the Proper Stranger, Baby the Rain Must Fall and The Sand Pebbles). The early seventies include a couple lesser collaborations with Sam Peckinpah (Junior Bonner and The Getaway) and the super cast/super dud The Towering Inferno. But besides appearing as himself in the Oscar-winning motorcycle documentary On Any Sunday, McQueen’s best film since The Great Escape is the epic Papillon, a film that has been written off by some as overly long and cold. But for my money it’s one of the best prison escape movies ever, as well as an eye-opening look at worlds I knew little about. (ALSO OF NOTE: I first saw it as a very young kid, in its second run at a drive-in, and there are some moments of violence that then confused me, but have stuck with me ever since.)
Based on the questionable autobiography of French petty criminal Henri “Papillon” Charrière, (played by the very American McQueen and shot in exotic locations all over the world) the script is credited to blacklisted legend Dalton Trumbo (Spartacus) and Lorenzo Semple Jr. (one of the creators of the '60s Batman TV series). The film begins in pre-WWII France with Papillon and other convicted criminals being marched through town and on to a boat to be shipped off to a French penal colony work camp. On the long and brutal ship ride, Papillon strikes a deal with a wealthy and rather famous forger, Louis Dega (Dustin Hoffman in full nebbish mode), for protection. With a promise to keep the meek embezzler alive, Dega will finance any escape attempts. Through the course of time, the two strike up an unlikely friendship (a prison adventure Midnight Cowboy). The film covers years in swampy, tough malaria-plagued conditions, finally ending on the infamous Devil’s Island. The film is loaded with wonderful set pieces, including long and short escape attempts, a leper colony, sadistic guards, creepy prisoners, solitary confinements and lots of double crosses (even a nun stabs Papillon in the back). It’s a survival saga and a friendship story, though the survival aspect is the highlight.Continue Reading
If you like your ultra-violence with a pulse, you must see Sam Peckinpah’s Straw Dogs—the tale of David and Amy Sumner, played with fervor by Dustin Hoffman and Susan George. Unlike Hoffman’s more well-known portrayals of a man with wisdom and/or humor, his performance in the film produces a chill and admiration that could rival with any cold-blooded killer onscreen. He plays a mathematician who, with his wife, decides to take up residency in her native village of rural England. A place that seems peaceful, yet is nothing but—occupied with Cornish thugs, rat-breeders, tyrants and more than one sexual deviant.
While trying to find relaxation and work on their marriage and his profession, the two find themselves in a vicious and animalistic race to restore peace, David’s masculinity, and to survive. After days of passive-aggressive plots, spiteful conversation, and violence against women, a local girl goes missing. The man suspected of her demise, Henry Niles (David Warner), the town metal-handicap, winds up in the Sumner’s custody one evening. While protecting him in his home, a war unfolds between Sumner and the village thugs, unleashing a competition of wit vs. experience that sends more than one man to their graves.Continue Reading
The Wild Bunch
As the western genre in America became more and more watered down by television, Sam Peckinpah singlehandedly turned the western on its head; his The Wild Bunch shocked 1969 audiences with its almost apocalyptic, misogynistic, and violent vision of a dying era. By today’s standards The Wild Bunch is still a nihilistic masterpiece. The action and graphic carnage on screen are still staggering and utterly exciting. And along with Battleship Potemkin, Psycho, and Bonnie and Clyde, it’s still one of the gold standards for incredible cutting-edge editing of violence and death. The film is bookended by two of the best pieces of choreographed mayhem ever put to screen where the Bunch engage in shootouts so violent and intense that the film got an X rating then and even got an NC-17 rating when it was re-released in the ‘90s (both ratings were negotiated down by the studios). The editing and mix of film speeds, including slow motion, have been ripped off and become a standard in operatic action scenes since—just check out all of John Woo’s best (Hong Kong) films; they’re direct grandchildren of The Wild Bunch.
The legend of director Sam Peckinpah has taken on mythical proportions; he was a man out of time, a hard drinkin’ visionary with a death wish. One fact is definitely true: he was an ex-TV western director trying to find a place in features. His Ride the High Country was considered a little gem while the financial disaster and critical drubbing of Major Dundee almost ended his film career (a half-cen...