A young man named Henry Brooks has written a musical about the life of Charles Bronson. I’m sharing this post to make sure you are aware of it. It’s a memorable take on certain key moments and movies in Bronson’s life and career. The album is produced by Stephen Glickman (Big Time Rush), with Steven Weber (Wings) and Lisa Loeb (Stay: I Missed You) contributing their immense talent to this interesting project as Charles Bronson and Jill Ireland. As a lifelong fan of Bronson’s, I love seeing a younger generation embrace his unique talent. I think my personal favorite song on the album is called “Toshiro and I,” which is Henry’s amusing take on Bronson’s film with iconic Japanese actor Toshiro Mifune, RED SUN. There are many other good songs as well, with “You Oughta be an Actor,” “There’s Never Been So Few,” “Death Wish,” and “Couldn’t Beat the Cancer” all sticking out to me. There are a total of 16 songs on the album, and the songs take Bronson from a boy working in the coal mines all the way to a man mourning the loss of his beloved wife.
I’ve linked to YouTube versions of the songs below! Take a moment to subscribe if you get the chance. You can also find the album on Spotify and Apple Music. In the next couple of months, it should be available to purchase for your collection. I for one will be buying the album on vinyl as soon as I can!
I’m including a link to the episode of the “This Week in Charles Bronson” podcast where we discuss the project with Henry Brooks. We’re so happy to help spread the word on this exciting project!
Episode 3 opens with Shane (David Carradine) and Joey (Christopher Shea) watching as geese are flying over the ranch on their way south. Joey wonders how the geese know to go south. Shane tells him that it’s instinct, almost like they have an internal clock telling them when it’s time to go. It seems like we’re supposed to be reading something deeper into this conversation, like maybe it’s time for Shane to be heading out.
In the next scene, Shane and Marian Starett (Jill Ireland) are at Sam Grafton’s General Store. Sam (Sam Gilman) agrees to loan the Starett’s money for the purchase of some hogs. It seems that disease has struck their stock. They offer a 20 acre stand of wheat to Sam as their collateral. Unfortunately, soon after the deal is made, a herd of cattle stampede the wheat, destroying any potential crop and leaving them with no ability to purchase the hogs. Shane and the Staretts immediately suspect that Rufe Ryker (Bert Freed) is behind the stampede based on his desire to have their land at any cost. Threats are made, but Ryker denies it.
With these financial difficulties as a backdrop, a group of men show up at Sam’s saloon looking for Shane. The leader of the bunch is Johnny Wake (Don Gordon), a guy Shane has ridden with in the past. He’s come to see if he can buy Shane and his gun for $300 to help with a range war they’re involved in. Normally, Shane would be able to say no, but with the Starett’s farm in trouble, it may now be time for Shane to leave. Is Shane like one of the wild geese? Did Ryker stampede the wheat field? Will Shane go back to his old ways with Johnny Wake and the funky bunch? We’ll soon find out.
I liked this episode. Ryker was set up to be such an A-hole in the pilot, but I found myself believing him when he told Shane that he was not responsible for the stampede that ruined the Starett’s wheat. He’s still an A-hole though. I also liked that there’s some tension between Shane and Marian in this episode. She makes it clear that no matter how bad things are financially for their family, she will never accept “blood money” as help. They look at each other longingly several times over the course of the episode’s 45 minutes. Is this heading towards a big smooch at some point? I like that little Joey gets to say “I love you, Shane” as he’s leaving the farm in this episode. Finally, I like that Shane gets to actually use his gun here. I won’t spoil who it’s used on, but I will admit that it’s satisfying.
Three episodes in, and I’m really enjoying the series! I can’t wait to check out Episode 4!
This morning I got up to make coffee for me and my wife. When I came back to our room, she had started the movie ENOUGH (2002) with Jennifer Lopez on the new projector that she bought me for Christmas. I’m not that big of a fan of Lopez, but I decided I’d go ahead and sit down to sip on my coffee prior to starting my day. I ended up watching the whole movie!
Jennifer Lopez plays Slim, a waitress in a diner in L.A., who meets a rich guy named Mitch Hiller (Billy Campbell) who impresses her when he gets rid of this rude jerk (Noah Wyle) trying to hit on her. Mitch and Slim get along famously, eventually getting married and having a cute little girl named Gracie. Everything seems perfect in their little world. Unfortunately, things aren’t what they seem, and one night Slim checks her husband’s pager. She calls the number and discovers Mitch has been cheating on her. When she confronts him about the affair, his entire countenance changes, and he begins beating the crap out of her. After the altercation, and before heading out to continue his affair, Mitch warns Slim not to leave because he refuses to live without her. With the help of her friend Ginny (Juliette Lewis) and a couple of others, Slim takes Gracie and they escape from Mitch. With all his money and connections, Mitch is able to track her down no matter where she goes. Feeling like she has no other options, Slim turns to her wealthy, estranged father, Jupiter (Fred Ward). He provides her the funds she needs to set up a new life and identity. Unfortunately, that damn Mitch tracks her down again. Narrowly escaping, Slim decides that she’s done running. She sends Gracie away with Ginny and begins training rigorously in self defense techniques. This time she’s taking the fight to Mitch with plans to end this shit once and for all.
If you’re looking for a realistic drama about the effects of spousal abuse on the family unit and then across the larger society, ENOUGH is not the movie for you. This movie is more for the Charles Bronson crowd, where the bad guys are truly evil and the audience is in complete agreement with their need to perish. This is a formula that continues to work even if you have to completely suspend your disbelief. For example:
-Is it realistic that Mitch would be able to conceal what a complete and total asshole he is for many years from Slim, but then one night turn out to practically be the sidekick of Satan?
-Is it realistic that Mitch would be able track Slim and Gracie down time and time again, no matter where she goes across the country, even after she uses her Dad’s resources to change her identity?
-Is it realistic that Slim would be able to get enough self defense training in a short period of time to be able to confront the extremely fit Mitch at the end and kick his ass?
While the setup is probably not the most realistic, we have to see images of Mitch beating up Slim on multiple occasions, even trying to kill her at one point. We also see him knock little Gracie to the ground and hurt her. We see him terrorizing her and anyone who tries to help her. This audience member just wanted to see Mitch pay.
I don’t really have any close connections to the main actors in ENOUGH, but they all do their jobs well enough to keep me involved. I have always been a fan of its director, Michael Apted. He’s made a few movies that I really like in CLASS ACTION (1991) with Gene Hackman, THUNDERHEART (1992) with Val Kilmer, and BLINK (1993) with Madeleine Stowe. He’s a more than competent director who knows how to get a reaction from his audience. This certainly may not reflect his best work, but he still handles the material in a professional manner.
My final word on ENOUGH… I enjoyed the film in the same way I like the 3 piece combo at KFC, which I really do enjoy. I know it’s probably not the best stuff out there, but the classic formula still works, and I’m satisfied when it’s all gone!
Since Sunday is a day of rest for a lot of people, I present #SundayShorts, a weekly mini review of a movie I’ve recently watched. Today’s movie is WANTED DEAD OR ALIVE from 1986.
Former CIA agent Nick Randall (Rutger Hauer) now works as a bounty hunter. After the authorities find out that Malak Al Rahim (Gene Simmons) is responsible for blowing up buildings in Los Angeles, Nick’s former employers request his assistance. With the help of his old friend Philmore (Robert Guillaume), Nick signs on to take Malak out and end his reign of terror!
WANTED DEAD OR ALIVE is one of those movies I enjoyed watching back in the mid-80’s as a junior high teenager. Rutger Hauer makes for a badass bounty hunter and Gene Simmons makes for a mean villain. Robert Guillaume plays Hauer’s friend and primary law enforcement contact in the movie. He was just coming off his 158 episode run on the TV show BENSON (1979-1986). Although he was good in the film, I still remember being surprised when Benson kept saying the F-word. If you like 80’s action movies and Rutger Hauer, like I do, WANTED DEAD OR ALIVE is still a fun watch.
Five Fast Facts:
Rutger Hauer plays Nick Randall, a descendant of Josh Randall, who was played by Steve McQueen on the WANTED DEAD OR ALIVE TV series that ran from 1958-1961.
Actor Ted White who portrays Pete, Charlie Higgins friend in the bar & the store robbery, also portrayed killer Jason Voorhees in FRIDAY THE 13TH: THE FINAL CHAPTER (1984).
According to writer and director Gary Sherman, Mel Gibson was also considered for the part of Nick Randall since he was still largely unknown outside of Australia at the time. The producers settled on Rutger Hauer for the role because it would have cost twice as much to get Gibson for the role.
Gary Sherman also directed the 1982 film VICE SQUAD starring Season Hubley, Gary Swanson, and Wings Hauser. I loved Rutger Hauer and Wings Hauser in the 80’s. Wings’ son Cole plays Rip Wheeler on the YELLOWSTONE TV series.
Gene Simmons from the rock band KISS specialized in playing bad guys on screen in the 1980’s. Aside from WANTED DEAD OR ALIVE, he was also a villain in RUNAWAY (1984) and NEVER TOO YOUNG TO DIE (1986).
I’ve included the trailer for WANTED DEAD OR ALIVE below.
What were those years in your life where movies really became something special to you? I’d say mine began in around 1984 and extended all the way through about 1991, when I headed off to college and the realities of the world started kicking in. Our family got our first VCR around 1984, and this is when I first truly began to fall in love with the cinema. These are the years when I would spend every moment I could in our local video stores inspecting every film in their stock. So many of my favorite movies came out during this time and hold a sense of nostalgic value in my life even now. One of those movies is STAKEOUT, an action comedy from 1987 starring Richard Dreyfuss and Emilo Estevez.
STAKEOUT begins with Richard “Stick” Montgomery (Aidan Quinn) escaping from prison, where he has been sent for killing an FBI agent a year earlier. Enter Seattle police detectives Chris Lecce (Richard Dreyfuss) and Bill Reimers (Emilio Estevez). They are assigned to stakeout the home of Montgomery’s beautiful ex-girlfriend Maria (Madeleine Stowe). In order to listen to her phone conversations, Chris impersonates a telephone repairman and meets her when he goes into her home to install the “bugs.” As fate would have it, he runs into Maria again at the local grocery store when he’s gone out to buy some supplies and donuts. She asks him to give her a ride home when she discovers she has a flat tire on her bike. He reluctantly gives her a ride home, but once he’s there, he puts up her groceries, she makes him a spicy dinner, and then he not so reluctantly makes love to her… all while his partner Bill is across the street waiting for his donuts. As you might imagine, this complicates the entire situation. And meanwhile, “Stick” Montgomery keeps making his way Seattle and Maria’s house where he stashed his cash before going away to prison.
STAKEOUT is one of those movies that our family rented in the late ‘80’s, and I immediately fell in love with. It’s my favorite kind of movie, the buddy cop film. Richard Dreyfuss and Emilio Estevez have a really nice chemistry together, and they come across as old friends. Even though there’s quite a bit of violence, the movie has a playful streak that I enjoy. There’s a series of running gags where Chris and Bill play practical jokes back and forth with the cops who relieve them on the stakeout each day, played by Dan Lauria and Forest Whitaker. The movie even throws in a little self-referential humor. In order to relieve the boredom of the stakeout, Estevez’ character is asking Dreyfuss movie trivia questions. He asks him to identify the movie where the line “this is no boating accident!” is from! Dreyfuss’ character has no idea. These are fun moments for me.
Another thing I love about STAKEOUT is the presence of the gorgeous Madeleine Stowe, who was making her first major film appearance. Seeing the film for the first time as a teenager of 14 years old made me a fan of hers for life. I’m not saying the movie was made specifically for 14-year-old boys, but it certainly wasn’t trying to push us away with its ad campaign that prominently featured the lovely Ms. Stowe. I’ll also point out that Aidan Quinn is effective and intimidating as the escaped murderer Richard “Stick” Montgomery. The fact that his character really does seem dangerous helps to make the film even more exciting when everything finally comes to a head. Veteran Director John Badham has made some really good movies in his career, including SATURDAY NIGHT FEVER (1977), BLUE THUNDER (1983), THE HARD WAY (1991), and NICK OF TIME (1995), to name a few. He knows what he’s doing, and I really started following his work based on how much I enjoyed STAKEOUT.
As much as I enjoy STAKEOUT, it’s one of those movies I don’t hear that much about these days even though it was a substantial box office hit. There was a misguided sequel made in 1993, ANOTHER STAKEOUT, that brought back Dreyfus, Estevez, and director Badham. I remember watching the sequel in the 90’s, but I honestly don’t remember anything about it. One of the reasons I enjoy writing about movies is because it gives me an opportunity to share a part of who I am, the things I enjoy, and maybe even serve as a reminder to others of films like STAKEOUT. I don’t think of these movies often myself, but when I was looking at my DVD collection earlier today, I smiled when I saw it and happily pulled it off the shelf to watch it again for the first time in several years!
Walter Hill celebrates his 83rd birthday on January 10th, 2025. He has made so many great films in his career, but the one that stands out the most to me is his directorial debut from 1975, HARD TIMES, with Charles Bronson, James Coburn, Jill Ireland, and Strother Martin. The film was known as THE STREETFIGHTER in some parts of the world, like England, but due to Sonny Chiba’s “Street Fighter” movie from around the same time, the producers decided to go with HARD TIMES in America.
Here are a few more interesting facts about Hill’s directorial debut:
Chaney (Bronson) was originally supposed to be a much younger man, with Jan-Michael Vincent being considered for the role.
Charles Bronson was 52 years old when he made HARD TIMES. According to Hill, Bronson “was in remarkable physical condition for a guy his age…. He had excellent coordination, and a splendid build. His one problem was that he was a smoker, so he didn’t have a lot of stamina. I mean, he probably could have kicked anybody’s ass on that movie, but he couldn’t fight much longer than 30 or 40 seconds.”
According to Hill, Charles Bronson was easier to work with than James Coburn. Hill would say “Bronson was a very angry guy who didn’t get along with a lot of people. The only reason I can tell you he and I got along well was he respected that I wrote the script. He liked the script. I didn’t try to get close to him. Kept it very business-like. I think he liked that. James Coburn, who everybody liked and got along well with, he and I did not get along well. I think he was not in a good mood about being in a movie with Charlie, it was second banana. He had been up there more, and his career was coming back a bit. I don’t think he was wild about being second banana. But Charlie was a big star… and when things had seemed to not be working well, or there was some impasse, Charlie would come down hard on my side. That was a tipping point”.
Walter Hill thought the project could become more “up market” if he made it more like a Western and set it in the past. Hill incorporated elements of an earlier Western he had written, “Lloyd Williams and his Brother”. He wrote it in a style inspired by Alex Jacobs–“extremely spare, almost Haiku style. Both stage directions and dialogue.”
The settings for the Capcom arcade game Street Fighter are taken right from HARD TIMES. This film is titled “The Street Fighter” in Japan, and the game designer was instructed to take inspiration from this film. He did just that and copied many of them directly.
I’m so thankful for Walter Hill and HARD TIMES. In fact, it’s my all-time favorite film, as well as the first review I ever published for The Shattered Lens.
So, if you like movies like HARD TIMES, THE DRIVER, THE WARRIORS, THE LONG RIDERS, SOUTHERN COMFORT, 48 HRS., EXTREME PREJUDICE, and RED HEAT, join us in celebrating the great director Walter Hill on his 83rd birthday. He has brought me countless hours of joy over the years!
Here’s a trailer from the Masters of Cinema for HARD TIMES…
Today, the Shattered Lens is in the business of wishing a happy birthday to Jermaine Clement, one half of the “Flight of the Conchords” musical group. And you know what that means… it’s BUSINESS TIME!
A friend of mine shared this song with me many years ago, and I still refer to it often. I just laughed my ass off watching this video again. Enjoy, my friends!
After a couple of decades of toiling away in TV and supporting roles, Charles Bronson became a huge international film star in 1968 when he starred in the films FAREWELL, FRIEND (with Alain Delon), and Sergio Leone’s ONCE UPON A TIME IN THE WEST (with Henry Fonda). For the next 5 years, Bronson would star in successful international co-productions, before hitting it big in the United States with the influential 1974 blockbuster, DEATH WISH. From 1974 to 1977, Bronson had his pick of any role that he wanted. This was probably the most interesting time in his career as he truly tried to expand his range with films like the depression-era HARD TIMES (1975), the romantic comedy FROM NOON TILL THREE (1976), the Raymond Chandler-esque ST. IVES (1976), and the surreal western THE WHITE BUFFALO (1977). But after 1977’s TELEFON and a series of underwhelming box office returns in the states, Bronson’s star was on the wane. He wouldn’t have his next #1 box office hit until he joined forces with the infamous Cannon studios in 1982 for the sequel to his biggest hit and DEATH WISH II. Cannon Studios would provide Bronson with a guaranteed paycheck and a non-stop presence on cable TV and at the video store for the remainder of the decade. I call the films that Bronson made between 1977 and 1982 the in-betweens. They don’t really fit into his European phase (1968-1973), his post-DEATH WISH phase (1974-1977) or his Cannon phase (1982-1989). To be completely honest, it seemed his career was somewhat in limbo at this point, and the movies he made during these years are some of his least well-known.
One of the movies that Charles Bronson made during the in-between years was 1980’s BORDERLINE. In this film, he plays Jeb Maynard, a border patrolman and expert tracker who will stop at nothing to find the human smuggler responsible for killing his friend and fellow patrolman Scooter, played by Wilford Brimley. I like this lower-key Bronson film. Director Jerrold Freedman has made a more realistic film than a lot of the movies in Bronson’s filmography. Outside of the murder that gets the story going, and the final showdown with the lead smuggler (a young Ed Harris), most of the film is made up of good old-fashioned field work and investigation. Bronson even based much of his performance on the technical advice of legendary border patrolman Albert Taylor. Now that doesn’t mean there aren’t some solid, action-packed scenes during the movie. My favorites include a scene where an undercover Maynard goes into Mexico with the mother of a young Mexican boy who was accidentally killed at the same time as Maynard’s friend Scooter. Maynard poses as a family member of the woman in hopes of being smuggled across the border so he can see how the illegal immigrants are being brought in. When thieves intercept the group, all hell breaks loose, and Maynard and the woman must fight their way out. Another badass moment occurs when Bronson beats needed information out of one of the smugglers in a nasty bathroom. This last scene is especially enjoyable for us Bronson fans.
There are so many good actors in this film. Outside of Bronson, Brimley, and Ed Harris, the cast is filled out by other veterans like Bruno Kirby, Bert Remsen, Michael Lerner, John Ashton, and Charles Cyphers. On a side note, Ed Harris gets the “introducing” credit here, even though he had appeared in several TV shows, as well as the movie COMA with Michael Douglas. This was his first major role in a feature film though. I also want to throw out special mention to Karmin Murcelo. She’s not a household name, but she’s excellent as the mother of the young boy who gets killed with Wilford Brimley’s character, who then helps Bronson in his quest to find the killer. Her career extended over 3 decades, and it’s easy to see why based on this performance.
BORDERLINE may not be an explosive action film like some of Bronson’s other work, but it’s an effective drama with a good performance from the star. I think he embodies the character perfectly. It’s also just as relevant in 2025 as it was in 1980, and I give the film a solid recommendation.
If you’re in Texas or Arkansas today, I hope you’re keeping as bundled up as Charles Bronson in DEATH HUNT. It’s cold out there people! Keep safe and stay home if at all possible! We don’t know how to drive in this weather!
Enjoy DEATH HUNT’s trailer below! Charles Bronson and Lee Marvin are as tough as it gets!
In celebration of the January 8th birthday of the great Elvis Presley, I decided to watch his 1962 film KID GALAHAD, the only film where he co-stars with my movie hero Charles Bronson. I’ve always been a fan of Elvis Presley and seeing him on-screen with Bronson is a real treat for me.
KID GALAHAD opens with Walter Gulick (Elvis Presley) returning to his hometown in upstate New York. Recently discharged from the army, and in the need of money, the aspiring mechanic finds his way to Willy Grogan’s (Gig Young) boxing camp and agrees to spar with one of his up-and-coming young boxers. Walter doesn’t have much boxing skill, but he ends up having one hell of a right hook and knocks the young boxer flat on his ass. Seeing this, Willy Grogan, who has all sorts of personal and financial problems, thinks Walter might be the answer to getting out of debt to his bookie. Willy asks his trainer Lew (Charles Bronson) to work with the young, strong Walter, who’s now been dubbed “Galahad” by Willy’s girlfriend Dolly (Lola Albright) after he had protected her honor from a “man who doesn’t know how to behave around a lady.” Pretty soon, Willy has fights arranged for Walter under the name of “Kid Galahad.” The first fight begins with Galahad getting his faced being punched repeatedly until he gets one opening and then knocks the other fighter out with one punch. After that, with Lew’s help, Galahad’s skills start showing definite improvement. When he’s not working with Lew at the gym, Galahad finds time to romance and propose to Willy’s sister, Rose (Joan Blackman). This causes problems with the troubled Willy who doesn’t want his sister married to some “meatball” or “grease monkey.” Even worse, smelling money, gangster Otto Danzig (David Lewis) and his henchmen start putting pressure on the financially troubled Willy to force Galahad to take a dive in his big fight with “Sugar Boy” Romero so they can clean up on the fix, going so far as breaking Lew’s hands. Will Willy get the balls to say no to the gangsters? Will Galahad be able to beat Sugar Boy Romero and then retire to open his garage with Rose by his side? You probably already know, but you’ll just have to watch and see!
1962’s KID GALAHAD is a remake of a 1937 movie of the same name directed by Michael Curtiz, and starring cinematic legends Edward G. Robinson, Bette Davis, and Humphrey Bogart. I’ve never seen the earlier version, so I will not compare the two in any way. And to be completely honest, I haven’t watched very many Elvis Presley movies either. As I type this, I can’t think of a single moment I remember in his filmography not included in KID GALAHAD, and I wouldn’t have watched this one without the presence of Charles Bronson. With that said, I think Elvis gives a good performance in KID GALAHAD. He’s very likable, with his character having an old-fashioned chivalry towards women, a friendly, open way with men, and an appreciation for a strong work ethic. I think Elvis handles each of these parts of his character in a way to that makes me want to root for him. As good as Elvis is as Kid Galahad, Gig Young does most of the heavy lifting as the story really revolves around his character’s troubles even more than it does around Galahad. I think he does a pretty good job of taking a character who’s a pretty sorry guy, and by the end of the movie we actually find ourselves starting to like him. Even though he’s in a true supporting role, Charles Bronson is excellent as the trainer who teaches Galahad how to box. Every scene Bronson’s in is elevated by his enormous screen presence and authority. With Bronson in his corner, you feel Galahad is capable of anything. The most powerful scene in the entire film is when the gangsters try to buy his character off under the threat of violence, and he refuses, leading to his hands being broken. After becoming one of the biggest stars on the planet a number of years later, it’s easy to look back at these moments and wonder how in the hell was he not already a huge star in 1962.
Of course, this being an Elvis Presley movie, there are several musical numbers spread throughout the movie. While I don’t remember too much about the songs themselves, they didn’t really take me out of the drama of the movie either. I actually enjoyed seeing Elvis perform, with the people around him clapping along and enjoying themselves. I do remember a specific scene where Elvis is singing as he’s driving down the road, and Bronson’s sitting in the back seat with a big smile on his face like he’s having a great time. That’s my favorite moment of all the songs.
Although I haven’t watched many of his movies, I’ve been an appreciative fan of Elvis Presley all my life. I can’t tell you how many times I heard his Christmas album in my younger years, as my mom would play it almost on repeat once we got to November. He was a talented, versatile singer whose charisma and stage presence have never been matched, and whose influence on music and entertainment is immeasurable. The fact that Elvis Presley and Charles Bronson made KID GALAHAD together means something to me, and I had a great time revisiting the film on his birthday!
Through the Shattered Lens 