4 Shots From 4 Films: Special Charles Bronson Birthday Edition


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today is the 100th anniversary of the birth of an actor who is very popular here at the Shattered Lens, Charles Bronson!  In honor of the momentous occasion, we now pay tribute to the one and only Bronson with….

4 Shots From 4 Charles Bronson Films

Death Wish (1974, dir by Michael Winner, DP: Arthur Ormitz)

Mr. Majestyk (1974, dir by Richard Fleischer DP: Richard Kline)

Breakheart Pass (1975, dir by Tom Gries, DP: Lucien Ballard)

10 To Midnight (1983, dir by J. Lee Thompson, DP: Adam Greenberg)

4 Shots From 4 Films: Special Raquel Welch Edition!


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today, we wish a happy birthday to the one and only Raquel Welch!

4 Shots From 4 Films

One Million B.C. (1967, directed by Don Chaffey)

Fathom (1967, directed by Leslie H. Martinson)

100 Rifles (1969, directed by Tom Gries)

Kansas City Bomber (1972, directed by Jerrold Freedman)

Fools (1970, directed by Tom Gries)


What the Hell, 1970?

In this self-conciously hip and with-it portrait of life in San Francisco at the tail end of the hippie era, Jason Robards plays Matthew South, a veteran B-movie actor who is fed up with everyday life and who is prone to long monologues about how the machines are taking over.  (Just imagine how Matthew would feel about the world today.)  When Matthew gets into an argument with two people in a park, Anais Appleton (Katharine Ross) comes to his rescue and soon, they’re in the middle of a falling in love montage.  Actually, there are several falling in love montages and they’re almost all scored by Kenny Rogers and the First Edition.  It’s easy listening with a hippie tinge.

Fools follows Matthew and Anais as they wander around San Francisco and have several strange encounters, none of which make much sense.  For instance, there’s a scene where two FBI agents suddenly burst into the room and then admit that they’re at the wrong address.  Why is that scene there?  What does it mean?  Later, Matthew and Anais go to a dentist and they listen to a patient try to seduce her psychiatrist (who is played by Mako).  Why is that scene there?  What does any of it mean?  Everywhere that Matthew and Anais go, they see evidence that society is dumb and that the answer to all life’s problems is a love song from Kenny Rogers.  Matthew never stops talking and Anais never stops looking pretty (she’s Katharine Ross after all) but neither ever becomes a strong enough character to ground Fools in any sort of reality.  It’s a movie that preaches nonconformity while so closely imitating A Thousand Clowns and Petulia that the entire thing feels like plagiarism.

Anais has a husband, an emotionally distant lawyer named David (Scott Hylands).  David isn’t prepared to let Anais leave him, no matter how tired she is of their marriage.  He hires a detective to follow Anais around.  It all leads to an act of violence that doesn’t fit the mood of anything that’s happened before.  Cue another falling love montage before the end credits role.

Fools is one of those films that probably would never have been made without the success of Easy Rider.  Everyone wanted a piece of the counterculture in 1970 and Fools tries so hard that it’s painful to watch.  Of course, neither Matthew nor Anais are really hippies.  They do eventually come across some hippies playacting in the street.  One of them is played by future David Lynch mainstay Jack Nance so that’s pretty cool.  Otherwise, Fools deserves to stay in 1970.

 

A Movie A Day #141: Breakheart Pass (1975, directed by Tom Gries)


California.  The 1870s.  Sheriff Pearce (Ben Johnson) boards a train with his prisoner, an alleged outlaw named John Deakin (Charles Bronson).  The train is mostly full of soldiers, under the command of Major Claremont (Ed Lauter), who are on their way to Fort Humboldt.  The fort has suffered a diphtheria epidemic and the soldiers are supposedly transporting medical supplies.

However, it’s not just soldiers on the train.  There’s also Gov. Fairchild (Richard Crenna) of Nevada, his fiancée (Jill Ireland), the Reverend Peabody (Bill McKinney), and a conductor named O’Brien (Charles Durning).  As the train continues on its journey, it becomes obvious that all is not as it seems.  People start to disappear.  A man is thrown from the train.  Two cars full of soldiers are separated from the train and plunge over a cliff.  There is also more to Deakin than anyone first realized and soon, he is the only person who can bring the murderers to justice.

In both real life and the movies, Charles Bronson was the epitome of a tough guy, so it’s always interesting to see him playing a more cerebral character than usual.  There are some exciting and surprisingly brutal action scenes, including a scene where Bronson fights a cook (played by former professional boxer Archie Moore) on top of the speeding train, but Breakheart Pass is more of a murder mystery than a typical action film.  If Louis L’Amour and Agatha Christie had collaborated on a story, the end result would be much like Breakheart Pass.  Bronson spends as much time investigating as he does swinging his fists or shooting a gun.  It’s not a typical Bronson role but he does a good job, showing that he could think as convincingly as he could kill.  Acting opposite some of the best character actors around in the 70s, Bronson more than holds his own.

Apparently, back in 1975, audiences were not interesting in watching Bronson think so Breakheart Pass was a disappointment at the box office and it is still not as well known as Bronson’s other films.  However, even if you’re not already a fan of the great Bronson, Breakheart Pass is worth discovering.

Let’s Go to the Drive-In with Charles Bronson in BREAKOUT (Columbia 1975)


cracked rear viewer

Charles Bronson  finally achieved superstar status in the 1970’s after years of toiling in supporting parts thanks to drive-in fare like THE MECHANIC, MR. MAJESTYK, and the DEATH WISH films. 1975’s BREAKOUT had a bigger budget, a better than average cast, and major studio support, but at it’s heart it’s still a drive-in movie, albeit a cut above the usual action flick.

Bronson casts aside his normal stoic, stone-faced screen persona as Nick Colton, a somewhat shady pilot/mercenary who’ll do anything for a buck. Charlie’s quite a charmer here, displaying a sense a humor and talking a lot more than usual. He’s in rare form, getting to display his acting chops, honed through over two decades in the business, and is obviously having a good time in the role.

Nick is hired by Ann Wagner to rescue  her husband Jay, framed by his own grandfather and sentenced to a ruthless Mexican pennitentary…

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A Movie A Day #32: Number One (1969, directed by Tom Gries)


number-oneQuarterback Cat Catlan (Charlton Heston) used to be one of the greats.  For fifteen years, he has been a professional football player.  He probably should have retired after he led the New Orleans Saints to their first championship but, instead, the stubborn Cat kept playing.  Now, he is 40 years old and struggling to keep up with the younger players.  His coach (John Randolph) says that Cat has another two or three years left in him but the team doctor (G.D. Spradlin who, ten years later, played a coach in North Dallas Forty) says that one more strong hit could not only end Cat’s career but possibly his life as well.  Two of former Cat’s former teammates (Bruce Dern and Bobby Troup) offer to help Cat find a job off the field but Cat tells them the same thing that he tells his long-suffering wife (Jessica Walter).  He just has to win one more championship.

Number One is unique for being one of the first movies to ever take a look at the dark side of professional football.  At 40, Cat is facing an uncertain future.  His years of being a star have left him unprepared to deal with life in the real world.  He has no real friends and a wife who no longer needs him.  This would seem like a perfect role for Heston, who always excelled at playing misanthropes.  Heston is convincing when he’s arguing with his wife or refusing to sign an autograph but, surprisingly, he is thoroughly unconvincing whenever he’s on the field.  For all of his grunting and all the lines delivered through gritted teeth, Heston is simply not believable as a professional athlete, even one who is past his prime.  (When he played the 40 year-old Cat, Heston was 46 and looked like he was 56.)  Whenever Cat throws a football, he’s played by Heston in close-ups and very obviously replaced by real-life Saints quarterback Billy Kilmer for the long shots.  A football film is only as good and convincing as the football action and, on that front, Number One leaves much to be desired.

The 1969 press photo displays Heston's throwing technique.

This 1969 press photo displays Heston’s throwing technique.

Two final notes: For the scene in which Cat is tackled by three Dallas Cowboys (all played by actual players), Heston requested that the players actually tackle him.  Heston ended up with three broken ribs.

Finally, Number One was made the cooperation of the New Orleans Saints and features several players in the cast.  When Number One was filmed, the Saints were still a relatively new expansion team.  Cat is described as having already led the Saints to a championship but it would actually be another 40 years before the Saints would finally make their first trip to the Super Bowl.