THE MECHANIC features an iconic performance by Charles Bronson, a performance that would represent a blueprint for the type of character he would play in many films…the strong, silent, unstoppable, man of action. Bronson plays Arthur Bishop, a hit man with a gift for planning and executing his hits in a way that make the deaths look like natural deaths rather than murders. Facing health issues and loneliness, he takes on a young protégé named Steve McKenna, played by Jan-Michael Vincent. This upsets his bosses in the underworld because he takes on the apprentice without asking them. Will they allow him to train up this new protégé and complete tag team hits going forward, or will they decide that Bishop is no longer worth the risk?
I’ll start off by stating up front that I love THE MECHANIC. The first Charles Bronson movie I ever owned on VHS was a nearly unwatchable, 2nd hand version of the film, but I still tried to watch it. The first Charles Bronson movie I ever saw on the big screen was a beautiful 35mm print of the film at the Mahoning Drive-in theater in Lehighton, PA. I also believe that this film has the best ending of any Charles Bronson film. Needless to say, the following review will be full of praise, so if you’re looking for a real critical take on the piece, this is probably not the place to look!
To start off, THE MECHANIC has a uniquely amazing opening sequence. The first 16 minutes of the film features hitman Bishop going through the mundane tasks of setting up a hit. We watch him set up shop across the street from the mark, we watch him break into the mark’s apartment to rig the things needed to accomplish the hit, we watch him squeeze a wax ball, etc. Bishop speaks no dialogue during these 16 minutes, and the only things we hear are the sounds of the soundtrack and the street. Bronson’s unique screen presence makes it mesmerizing. Could you imagine an action film trying this strategy in this day and age?
Once Bishop has successfully completed the first hit, we’re introduced to Bishop’s world outside of what we’d observed during the opening sequence. We meet Harry McKenna (Keenan Wynn), the “uncle-like” figure who has gotten himself in trouble with the organization. We’re not surprised who’s given the job to eliminate this problem. We meet Harry’s son Steve (Jan-Michael Vincent) who hits it off with Bishop at the funeral where their relationship really begins. On a side note, the film’s script featured these two characters as gay men, and the sexuality element was going to be a major way that Steve would get close enough to Bishop to gain his trust. That part of the script was changed to get Bronson and secure financing for the film. Since that element is not part of the movie I’ll move on. We meet a prostitute (Jill Ireland) who’s visited by Bishop. This is a very interesting scene that gives us a strong insight into just how lonely Bishop is and also helps us understand why he’s open to the idea of bringing on an apprentice. I think Jill Ireland is quite effective in her one scene.
Once the various characters are introduced, the film settles nicely into a mentoring relationship between Bishop & Steve. The experienced hitman shares his knowledge, and we follow along with them as they complete various assignments. The movie seems most interested in the relationship between the men, but this is an action movie, so we have a couple of very solid action sequences in the middle portion of the film, as well as the end. Director Michael Winner, who directed Charles Bronson in six different films, stages these sequences extremely well, especially the sequence that ends the film in Naples, Italy. We see necks snapped. We see faces knuckle punched. We see a motorcycle chase ending with a motorcycle flying off a cliff and exploding into a ball of flames upon impact. We see boats exploding. We see Bronson using my favorite weapon, the pump shotgun, with expert precision. We see cars chasing each other along the Italian coast. We see bombs being dropped out of moving cars with precision timing to blow up the cars behind them. We even see a bulldozer pushing a moving car off the side of a cliff. It’s some amazing stuff, with Bronson & Vincent appearing quite badass at times. And then the ending, the ending that proves just how awesome Bishop truly is! I won’t say anymore about that. Just watch and enjoy!
**BONUS CONTENT** – We dedicated an episode of the “This Week in Charles Bronson” podcast to THE MECHANIC. It was one of the most enjoyable episodes for me to record. If you’re interested in learning more about the film from a group of guys who love Charles Bronson, give it a listen!
Through the Shattered Lens 
Enjoyable summary and review, as always, Brad! You note the original subtext-and-purpose of the story, and I did not pick up on that (owned on VHS) and thanks for explaining why. I originally thought the ‘call girl’ scene was a twist with him paying what I thought was his girlfriend a the end. I’ve tried to discuss this, and been met with “she was a horrible actress!” and when I explain that maybe that was the point, they still argue! Oh, well. “It’s easier to fool people than to convince them that they have been fooled”
So, losing the subtext-and-purpose…another good example of “show BUSINESS!” Always appreciate ‘Screenwriter 101’ moments like the name “Arthur Bishop.” He really is an appreciator of Art, and an Artist at what he does. Bishop is a chess piece, some quotes come to mind, “(t)he bishop is a lot like me…just when you think you have me, I’m already behind you.” and “(o)nly a good bishop can be sacrificed, a bad bishop can only be lost.” Full circle on Bishop killing McKenna’s father, and being killed by the son. Shakespearean!
Have not seen discussion of an ‘alternate ending’ in some time, but it was part of the ‘extras’ on my VHS copy (special Deluxe Anniversary edition). The alternate shows Steve McKenna walking around Arthur Bishop’s home, implying that all Bishop acquired now belongs to McKenna. McKenna climbs in the plane and flies off, and the plane explodes on the horizon; the camera pulls back, and a silhouette of Bishop watching from a nearby hill is shown. It seems some, including director Michael Winner, deny the alternate ending exists. Perhaps my memory is failing me, or there is a good reason for erasing it. Intriguing!
Also, there is a brief scene where McKenna and Bishop are playing what I know as ‘East Coast handball’ and it is the only time I recall seeing Bronson on camera playing a hand-eye coordination sport. He also golfed, not an easy sport to learn at any age, even though the ball is still while the striking club head is moving.
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Thanx for the info on the alternate ending! I LOVE this movie, but have not been aware of it! Indeed, M. Winner never discusses that anywhere (as far as I know).
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I think Jill is quite effective in her scene. I agree that it seems she’s way overdoing the part, until the full scene plays out. I think she does a good job of finishing off that particular moment in the film. And I have not heard of this alternative ending. I was shocked the first time I saw the film, but I think it’s perfect.
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Yes, I agree with everything above, because I also praise this C. Bronson masterpiece (a BIG word, but yes, I chose it intentionally!) very very highly.
In fact one of my 3-5 most loved Bronson-movies (the others being HARD TIMES/my number one, CHATOS LAND (the ultimate silent recenge-western!), DEATH WISH I and MR, MAJESTYK).
THE MACHANIC is one of those – in fact not that few – movies, where one starts to wonder why Michael WINNER still doesn´t get the praise he deserves?? He might not be another Don SIEGEL (because there is just one, haha), but one can rightly compare him to Robert ALDRICH, me thinks. Both were directors who made slim, efficient, silent (no “blabla” like Tarantino loves so much) action-movies, which were and still are amongst the best made back then. Intelligent scripts, always a message (though not on the surface), movies made by grown-up men for grown-up men (that has unf. changed dramatically … sigh), superb cinematography, great soundtracks (Jerry Fielding!!), … movies you wanna see again and again and again.
For me M. Winner therefore is one of THE quintessential directors of the later 60ies to mid/later 70ies (in the later 70ies he seems to have said to himself “what the fuck, I don´t care, I will give them the shit they always say my movies are”, but that´s a different story).
I also saw THE MECHANIC (and the other above-mentioned movies) in run-down re-run theatres in the later 70ies and early 80ies and was blown away. I was a mid-teen by then and BRONSON became my hero immediately (alongside with – of course – the other two leading men back then: EASTWOOD and McQUEEN). I am happy to say that I have seen all these movies several times over the last decades and they hold on VERY VERY VERY well compared to todays movies (the remake is terrible, by comparison…), so that is prove for me, that these movies were made for eternity. The legacy lives on.
I call such movies “masterpieces” and that is why I do so.
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Hard Times is my personal favorite film. And I do think Michael Winner was doing great work in the early 70’s.
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2 typos: In Bradleys text it should be “Facing heaLth issues…” and CHATO´S LAND is of course a “reVenge-western” (my typo, sorry). 🙂
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Fixed mine! 🙂
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Love this film!
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I think it has the best ending of almost any film out there. I’ll never forget how surprised I was when I saw it the first time.
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I just re-watched it a few months back and am reminded of how poorly remakes treat content like this…a shame – but then again, NOBODY exudes cool like Bronson!
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