A Movie A Day #252: The Death Collector (1976, directed by Ralph De Vito)


Jerry Bolanti (Joe Cortese) is a cocky loud-mouth who has just returned to New Jersey after serving a prison sentence.  Jerry needs a work so a mid-level gangster named Tony (Lou Criscuolo) hires Jerry as a debt collector.  The problem is that Jerry is just not very good at his job.  His attempt to collect money from Bernie Feldshuh (Frank Vincent) leads to Bernie hiring a legendary hitman (Keith Davis) to kill Jerry.  Despite working with two experienced enforcers, Joe (Joe Pesci) and Serge (Bobby Alto), Jerry’s next job is just as unsuccessful and leads to even more unnecessary deaths.  Tony starts to wonder if maybe he made a mistake giving a job to Jerry and, unfortunately, no one simply gets fired from the Mafia.

A low-budget and nihilistic film, The Death Collector occupies a strange place in film history.  Though it was largely ignored when it was first released, one of the few people who did see it was actor Robert De Niro.  De Niro brought the film to the attention of Martin Scorsese, who was casting Raging Bull at the time.  Both Joe Pesci and Frank Vincent made their film debuts in The Death Collector and, after watching the movie, Scorsese cast both of them in Raging Bull.

The rest is history:

In Raging Bull, Pesci beats up Vincent.

In Goodfellas, Pesci kills Vincent.

In Casino, Vincent finally gets to kill Pesci.

If not for The Death Collector, Frank Vincent would never have told Joe Pesci to “get your fucking shinebox.”  If not for The Death Collector, Joe Pesci would never have thrown Frank Vincent in that trunk.  It all started with The Death Collector.

As for the film itself, The Death Collector was filmed on location in New Jersey and it occasionally has a raw and intense grittiness but it suffers because there’s never any reason to care about Jerry.  He starts the movie as an asshole and he ends the movie as an asshole and Joe Cortese’s bland performance fails to make Jerry into a compelling antihero.  The Death Collector works best whenever Vincent and Pesci are on-screen.  Pesci’s performance is slightly toned down version of the hyped-up maniacs that he became best known for playing while Vincent shows that, even in his first film, he was already a master at playing slightly ridiculous tough guys.

The Death Collector can also be found under the title, Family Enforcer.  It’s been released on DVD by several companies, all of which claim that the film “stars” Joe Pesci.  My copy has a picture of Pesci that was lifted from 8 Heads In A Duffel Bag on the cover.

A Movie A Day #165: Big Wednesday (1978, directed by John Milius)


If there is a male bonding hall of fame, Big Wednesday has to be front and center.

This episodic movie follows three legendary surfers over twelve years of change and turmoil.  Jack Barlowe (William Katt) is the straight arrow who keeps the peace.  Leroy “The Masochist” Smith (Gary Busey) is the wild man.  Matt Johnson (Jan-Michael Vincent) is the best surfer of them all but he resents both his fame and the expectation that he should be some sort of role model for the younger kids on the beach.  From 1962 until 1974, the three of them learn about love and responsibility while dealing with cultural turmoil (including, of course, the Vietnam War) and waiting for that one legendary wave.

After writing the screenplays for Dirty Harry and Apocalypse Now and directing The Wind and The Lion and Dillinger, John Milius finally got to make his dream project.  Big Wednesday was based on Milius’s own youth as a California surfer and he has said that all three of the main characters were based on different aspects of his own personality.  Expectations for Big Wednesday were so high that Milius’s friends, George Lucas and Steven Spielberg, exchanged percentages points for Star Wars and Close Encounters of  The Third Kind for a point of Big Wednesday.  The deal turned out to be worth millions to Milius but nothing to Lucas and Spielberg because Big Wednesday was a notorious box office flop.  Warner Bros. sold the film as a raunchy comedy, leaving audiences surprised to discover that Big Wednesday was actually, in Milius’s words, a “coming-of-age story with Arthurian overtones.”

I can understand why Big Wednesday may not be for everyone but it is one of my favorite movies.  It is one of the ultimate guy films.  Some of the dialogue and the narration may be overwrought but so are most guys, especially when they’re the same age as the surfers in Big Wednesday.  We all like to imagine that we are heroes in some sort of epic adventure.  The surfing footage is amazing but it is not necessary to be a surfer to relate to the film’s coming-of-age story or its celebration of the enduring bonds of friendship.  Katt, Vincent, and Busey all give great performances.  Considering their later careers, it is good that Big Wednesday is around to remind us of what Gary Busey and Jan-Michael Vincent were capable of at their best, before their promising careers were derailed by drugs and mental illness.  Be sure to also keep an eye out for infamous 70s character actor Joe Spinell as an army psychiatrist, a pre-Nightmare on Elm Street Robert Englund, playing a fellow surfer and providing the film’s narration, and Barbara Hale, playing the patient mother of her real-life son, William Katt.

One final note: At a time when the shameful stereotype of the psycho Vietnam vet was becoming popular and unfairly tarnishing the reputation of real-life vets, Big Wednesday was unique for featuring a character who not only joins the Army but who appears to return as a better person as a result.