Emperor of the North
Starting with Bonnie and Clyde in ’67 and throughout the '70s, the Depression in America became an exciting setting for a whole slew of films. That dark period of the 1930s sometimes became romantically re-imagined as a freewheelin’ adventure time or was used more dramatically as a metaphor for current times. Prime examples include The Sting, They Shoot Horses Don’t They?, Paper Moon, Dillinger, Boxcar Bertha, and Hard Times. And though it does not get off to the most promising start, Robert Aldrich’s 1973 movie, Emperor of the North, ends up being one of the best action flicks of the decade, as well as an almost comic-book Valentine to the era.
After opening with a scroll about the history of hobos riding the rails, Emperor of the North then rolls into the most unfortunate film theme song with all-stars behind it, maybe ever. “A Man and a Train,” with lyrics by the great Hal David (partner of Burt Bacharach), music by the nearly legendary Frank De Vol (he scored most of Aldrich’s films and The Brady Bunch!) and sung by Marty Robbins (”El Paso”), features gems like “a man's not a train and a train's not a man. A man can do things that a train never can.” I’m not sure what the word is for homoeroticism between a man and a train, but this song is it.Continue Reading
The Dirty Dozen
The Dirty Dozen, the granddaddy of action super-team flicks, took the sheen off the WWII big ensemble picture (The Longest Day, The Great Escape) and mixed in the military cynicism that was bubbling up (encouraged by doubt about the Vietnam War) with rowdy anti-heroics (MASH, Kelly’s Heroes). Like so many films to follow, the film breaks into two halves easily: first, assembling the team full of anti-authority types (Stripes); and second, the undercover suicide mission behind enemy lines (Inglourious Basterds). After years of dependable supporting performances in The Wild One, The Man Who Shot Liberty Valance and Ship of Fools, this may be silver haired, tough guy actor Lee Marvin's signature role (with apologies to the great crime thriller Point Blank and his Oscar winning work in the otherwise forgettable Cat Ballou). The Dirty Dozen gives Marvin the perfect opportunity to showcase his brawn as well as his sense of humor. As Major Reisman, he is assigned the task of putting together a WWII team made of 12 creeps and criminals, many of whom are facing the noose, to first train and then sneak into France before D-Day to kill a group of high-end Nazis (with their dates) at a fancy chateau shindig.
The team is made up of many future stars, or at least interesting cinematic curios...Continue Reading
Produced by Robert Chartoff and Irwin Winkler (Rocky, Raging Bull, etc.), The Split is a lost relic. Besides being the first film to ever receive an “R” rating by the ratings board, it’s a nifty heist film with a great cast full of fascinating credentials. Because it stars football star turned actor Jim Brown (and has Diahann Carroll as his ex-wife and a funky-lite Quincy Jones score), it’s often lumped in as an early blaxploitation flick. It’s not. Directed by a Scotsman, Gordon Flemyng, (who did a lot of '60s Dr. Who) and written by the great crime writer Donald Westlake (credited in the script under his equally known alias Richard Stark), this is the guy who wrote the books that became Point Blank (and later Payback), as well as The Hot Rock and The Outfit, and later wrote the script for The Grifters. So The Split could have easily been a vehicle for Lee Marvin, Rock Hudson, James Coburn or any other leading man of the era. It just so happens that Brown took the role. It’s a gritty little crime flick. It barely even qualifies as crooksploitation. Yes, it’s an imperfect film (chunkily directed), but it's still entertaining with some nice ’68 Los Angeles locations and some wild twists.
Fresh out of the slammer McClain (Brown) is recruited by Gladys (Julie Harris) to pull a big heist at the Los Angeles Coliseum (shades of the race track robbery in Stanley Kubrick’s The Killing). McClain gathers an all-star cool cast to take part in the caper: tough guy Ernest Borgnine, escape artist/racist Warren Oates (a little less oily than he was a year earlier in In The Heat of the Night), limo driver Jack Klugman and creepy hit-man Donald Sutherland (still two tears before MASH made him a star). In a very complicated robbery and clever escape, the gang gets away with over a half-million bucks. But it’s after the heist when the real drama starts. It’s what happens to the loot before “the split” that cause the usual problems of greed and suspicion. First, the ex-wife has a sadistic, rapey landlord (James Whitmore) who kills her and steals the money, and then a crooked cop, Walter Brill (the great Gene Hackman pre-testing for Popeye Doyle) gets involved. The film becomes a stand-off for the money between McClain, Gladys, the gang and Brill.Continue Reading