Lou Whitehill Movies

James Garner is so good as Raymond Chandler's philosophical gumshoe Philip Marlowe that you forget he's totally wrong for the part. Based on Chandler's The Little Sister, Marlowe involves the detective's efforts to locate the missing brother of Orfamay Quest (Sharon Farrell). He follows the clues to two men who deny any knowledge of the brother's existence. Since both men soon find themselves on the wrong end of an ice pick, Marlowe deduces that there's more to this caper than a mere missing-person case. The plot thickens as more "dramatis personae" are added to the intrigues, including TV star Gayle Hunnicutt, Hunnicutt's gangster boyfriend H.M. Wynant and stripper Rita Moreno. A pre-stardom Bruce Lee shows up as a karate-happy thug who lays waste to Marlowe's office shortly before suffering a spectacular demise. It is preferable to view Marlowe in videocassette or theatrical form; the commercial TV print cuts so much out that viewers are left with virtually nothing but protection leader and a few close-ups of James Garner. ~ Hal Erickson, Rovi

Based on Donald E. Westlake's novel The Hunter, John Boorman's gangster film hauntingly merges a generic revenge story with a European art cinema sensibility. In Alcatraz to divvy up the spoils from a robbery, thief Walker (Lee Marvin) is instead shot point blank by his double-crossing friend Mal Reese (John Vernon) and left to die while Reese takes off with Walker's wife Lynne (Sharon Acker) and his $93,000. Resurrected, the stone-faced Walker returns to Los Angeles a couple of years later to seek revenge on Mal with the help of the enigmatic Yost (Keenan Wynn) and Lynne's sister Chris (Angie Dickinson). Wanting little but his cash, Walker implacably penetrates Mal's lair and the hierarchy of the shady "Organization," registering no emotion about the string of murders left in his wake, as his thoughts repeatedly return to the past that brought him there. In his first American feature, Boorman transforms a stripped-down revenge plot into a surreal meditation on the gangster's spiritual demise, using flashbacks and startling shifts in setting to interweave Walker's fractured memories with his extraordinarily photographed odyssey through L.A. Marvin's chillingly stoic presence further hints at the ambiguities in Chris's observation that Walker "died at Alcatraz, all right." Brutal in the violence that it shows and suggests, Point Blank opened in the U.S. in the same period as Bonnie and Clyde, becoming one more testament to the genre-bending and ground-breaking possibilities of the nascent Hollywood New Wave. Although Point Blank was mostly overlooked in 1967, Boorman's visual adventurousness, and Marvin's amoral and apathetic antihero, have since made Point Blank seem one of the key films of the mid-late '60s, a precursor to revisionist experimentations from Martin Scorsese to Quentin Tarantino. It was remade as the 1999 Mel Gibson vehicle Payback. ~ Lucia Bozzola, Rovi