Film Review – GOLD (1974)

GOLD (1974, Killarney Film Studios, UK, 120 mins, Colour, 2.35:1, Mono, Cert: 12, Action Drama) ∗∗∗∗∗
      Starring: Roger Moore (Rod Slater), Susannah York (Terry Steyner), Ray Milland (Hurry Hirschfeld), Bradford Dillman (Manfred Steyner), John Gielgud (Farrell), Tony Beckley (Stephen Marais), Simon Sabela (Big King), Marc Smith (Tex Kiernan), John Hussey (Plummer), Bernard Horsfall (Dave Kowalski), Bill Brewer (Aristide), Norman Coombes (Frank Lemmer).
      Producer: Michael Klinger; Director: Peter R. Hunt; Writer: Wilbur Smith, Stanley Price (based on the novel “Gold Mine” by Wilbur Smith); Director of Photography: Ousama Rawi (Technicolor); Music: Elmer Bernstein; Film Editor: John Glen; Production Designer: Syd Cain, Alex Vetchinsky, Art Director: Robert W. Laing; Costume Designer: Marjory Cornelius.

Gold_(1974)An overlooked film from the 1970s, this conspiracy action adventure story based on Wilbur Smith’s novel mixes exciting sequences underground with standard plotting and characters above it. Moore plays Rod Slater a mine manager who is set up as the fall guy by Dillman and his team of crooked investors. Their scheme is for Moore to flood the mine with water, whilst he believes he is drilling a new area for gold, and thereby raise the price of gold so Dillman and his crew can cash in.

Moore is excellent as Slater instilling more energy and emotion into the role than in his James Bond movies of the same vintage. In fact many of the Bond crew are on hand here. Peter Hunt, who directed one of the very best Bonds in On Her Majesty’s Secret Service, livens the film with his trademark fast editing, supported by future Bond director John Glen, during the action scenes and significantly heightens the tension. The finale is particularly well staged as Moore and Sabela battle their way through the flooding mine in an attempt to seal it with explosives. The supporting cast is strong too with York good as Dillman’s wife and Moore’s love interest; Milland suitably grumpy as the mine owner and Dillman conniving as the director of operations. Gielgud, however, is wasted in a smaller role as the head of the investment syndicate.

With grippingly authentic and well filmed mining scenes making up for those above ground, which sometimes drag, this is a neat movie that deserves some re-appraisal.

Film Review – ASSAULT ON PRECINCT 13 (1976)

ASSAULT ON PRECINCT 13 (1976, The C K K Corporation, USA, 90 mins, Colour, 2.35:1, Mono/DTS 5.1, Cert: 15, Action Thriller) ∗∗∗∗
      Starring: Austin Stoker (Lt. Ethan Bishop), Darwin Joston (Napoleon Wilson), Laurie Zimmer (Leigh), Martin West (Lawson), Tony Burton (Wells), Charles Cyphers (Starker), Nancy Loomis (Julie), Peter Bruni (Ice cream man), John J. Fox (Warden), Marc Ross (Patrolman Tramer), Alan Koss (Patrolman Baxter), Henry Brandon (Chaney), Kim Richards (Kathy).
      Producer: J. S. Kaplan; Director: John Carpenter; Writer: John Carpenter; Director of Photography: Douglas Knapp (Metrocolor); Music: John Carpenter; Film Editor: John Carpenter (as John T. Chance); Art Director: Tommy Wallace.

AssaultOnPrecinct13-blu-ray-814x1024The film that provided the light to the touch paper on the career of its writer and director, John Carpenter (who also handled the music score and editing duties). Carpenter had enjoyed some cult success with his comic sci-fi debut DARK STAR in 1974, but it was this film and its follow-up HALLOWEEN (1978) that cemented the deal.

Much has been said of the movies two major influences. The law under siege coming from Howard Hawks’ RIO BRAVO (1959) and the dialogue-free portrayal of the LA gangs as single-minded and almost zombie-like a nod toward NIGHT OF THE LIVING DEAD (1968). Carpenter’s use of a pseudonym for his editor credit and Zimmer’s character name acknowledged the former.

The result is an economical and highly entertaining B-movie, which moves at a fair clip. Whilst the cast lacks a certain star wattage, Carpenter gives the actors some memorable dialogue – most notably to Joston, whose running gag “Got a smoke” is another nod to Hawks and westerns in general. Carpenter adds to the tension with his electronic score, which through its simplicity of structure and phrasing heightens the atmosphere. The ice cream van scene is still talked about today for its shock value and is a prime example of how the director could keep an audience on its toes in the early films of his career. The first gun assault on the closed down precinct house was all the more effective for the gang’s use of silencers to avoid their assault being reported from the nearby neighbourhood. The pinging ricochet of bullets and the flutter of papers conveying the sense of danger in a different and more effective way.

Initially dismissed in the US, the film gained its reputation in Europe the year following its release. This led to a re-appraisal by American critics and a re-release when Carpenter’s reputation was sealed with HALLOWEEN. The film itself became the subject of a less effective remake in 2005 and Carpenter would re-work the siege theme in his remake of THE THING (1980) and the later GHOSTS OF MARS (2001).