BREAKOUT (1975, USA) **
Action, Adventure, Drama
dist. Columbia Pictures (USA), Columbia-Warner Distributors (UK); pr co. Columbia Pictures / Persky-Bright-Vista; d. Tom Gries; w. Howard B. Kreitsek, Marc Norman, Elliott Baker (suggested by a book by Warren Hinckle & William Turner and Eliot Asinof); pr. Robert Chartoff, Irwin Winkler; ph. Lucien Ballard (Eastmancolor. 35mm. Panavision (anamorphic). 2.39:1); m. Jerry Goldsmith; ed. Bud S. Isaacs; ad. Alfred Sweeney; rel. 7 March 1975 (West Germany), 1 May 1975 (UK), 22 May 1975 (USA); BBFC cert: 15; r/t. 96m.
cast: Charles Bronson (Nick Colton), Robert Duvall (Jay Wagner), Jill Ireland (Ann Wagner), John Huston (Harris Wagner), Randy Quaid (Hawkins), Sheree North (Myrna), Jorge Moreno (Sosa), Emilio Fernández (J.V.), Paul Mantee (Cable), Alan Vint (Harve), Alejandro Rey (Sanchez), William B. White (2nd Officer), Roy Jenson (Spencer), Sidney Clute (Henderson), Chalo González (Border Guard), Antonio Tarruella (1st Prison Guard), Don Norgano Frill (2nd Prison Guard).
Vehicle for Bronson in which he plays a bush pilot hired by Ireland for fifty thousand dollars to go to Mexico to free her husband (Duvall), an innocent prisoner. Saddled with a weak script, Gries fails to find a consistent tone as the film veers uneasily between action drama and comedy. This is not helped by using Bronson in a character more suited to the likes of Burt Reynolds. The story is confusing, and the characters’ motives are never fully explored or explained leaving the audience with little to invest in them. The performances are mixed – Duvall has little to do, and his talent is wasted. There are better performances from Quaid and North, who manage to capture the tonal balance best. Huston has a couple of brief scenes as Duvall’s grandfather determined to keep him behind bars. Technical accomplishments are varied, the editing is often clunky, but there are some genuinely hairy stunts performed. Dan Frazer appears uncredited as a US Customs agent. Apparently the film was inspired by the real 1971 helicopter rescue and breakout of Joel David Kaplan from a Mexican prison.
LONELY ARE THE BRAVE (1962, USA) ****
dist. Universal Pictures (USA), Rank Film Distributors (UK); pr co. Joel Productions; d. David Miller; w. Dalton Trumbo (based on the novel “Brave Cowboy” by Edward Abbey); exec pr. Kirk Douglas (uncredited); pr. Edward Lewis; ph. Philip H. Lathrop (B&W. 35mm. Panavision (anamorphic). 2.39:1); m. Jerry Goldsmith; m sup. Joseph Gershenson; ed. Leon Barsha; ad. Alexander Golitzen, Robert Emmet Smith; set d. George Milo; cos. Stanley Kufel, Peter V. Saldutti; m/up. Dave Grayson, Bud Westmore, Larry Germain; sd. Waldon O. Watson, Frank H. Wilkinson (Mono (Westrex Recording System)); st. Bob Herron; rel. 27 April 1962 (UK), 24 May 1962 (USA); cert: PG; r/t. 107m.
cast: Kirk Douglas (John W. “Jack” Burns), Gena Rowlands (Jerry Bondi), Walter Matthau (Sheriff Morey Johnson), Michael Kane (Paul Bondi), Carroll O’Connor (Hinton), William Schallert (Harry), George Kennedy (Deputy Sheriff Gutierrez), Karl Swenson (Rev. Hoskins), William Mims (First Deputy Arraigning Burns), Martin Garralaga (Old Man), Lalo Rios (Prisoner).
Douglas gives one of his best performances as a cowboy out of his time who attempts to break a friend (Kane) out of jail and is then pursued through the mountains by the local sheriff (Matthau). The film is played out for the most part from Douglas’ perspective as it laments the passing of the old west, which has been taken over by technological progress. The mix of drama and dry humour may seem jarring to some but adds a sense of realism as the humour is never over-played. There is brutality, represented by Kennedy’s sadistic jail warden. The humour is mainly played out through Matthau’s sheriff’s wilting exasperation at the incompetence of his men. There are symbolic scenes demonstrating the core theme of a modern west with the unforgettable bookends and Trumbo’s screenplay adaptation is well observed, excepting the jailbreak scene, which feels a little too easy. Douglas is superb and gets into the soul of his character and Lathrop’s black and white photography adds to the yearning for nostalgia. The section showing Douglas’s ascent of the mountain with his horse is depicted with authenticity and generates considerable suspense. Reported to be Douglas’ favourite of all his films. This was Carroll O’Connor’s film debut. An overlooked gem.
RANSOM (UK, 1974) ***
Distributor: British Lion Film Corporation (UK), Twentieth Century Fox (USA); Production Company: Lion International / Twentieth Century Fox Film Corporation / Rwaley Film & Theatre; Release Date: 27 February 1975 (UK), 16 April 1975 (USA); Filming Dates: began 14 January 1974; Running Time: 94m; Colour: Eastmancolor; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.66:1; BBFC Cert: PG.
Director: Caspar Wrede; Writer: Paul Wheeler; Producer: Peter Rawley; Director of Photography: Sven Nykvist; Music Composer: Jerry Goldsmith; Film Editor: Eric Boyd-Perkins; Casting Director: Lesley De Pettit; Art Director: Sven Wickman; Costumes: Ada Skolmen; Make-up: Stuart Freeborn; Sound: John Bramall, Ken Scrivener; Special Effects: Roy Whybrow.
Cast: Sean Connery (Tahlvik), Ian McShane (Petrie), Jeffry Wickham (Barnes), Isabel Dean (Mrs. Palmer), John Quentin (Shepherd), Robert Harris (Palmer), James Maxwell (Bernhard), William Fox (Ferris), Harry Landis (Lookout Pilot), Norman Bristow (Denver), John Cording (Bert), Christopher Ellison (Pete), Richard Hampton (Joe), Preston Lockwood (Hislop), Karen Maxwell (Eva), Colin Prockter (Mike), Malcolm Rennie (Terry), Knut Wigert (Polson), Knut M. Hansson (Matson), Frimann Falck Clausen (Schmidt), Kaare Kroppan (Donner), Alf Malland (Police Inspector), Brita Rogde (Air Hostess), Sven Aune (Co-Pilot), Per Tofte (British Embassy Driver).
Synopsis: A gang of hijackers led by McShane seize a British plane as it is landing in Scandinavia.
Comment: Hostage thriller is a little drawn out by diving straight into the scenario, thereby allowing little room for character development or motivation. Whilst the complex nature of the story unfolds as it progresses, it somehow lacks the suspense of its ticking-clock premise. Connery is as effective as ever in the lead role of the Scandinavian police chief at odds with his government’s approach to the situation, whilst trying to figure ways to delay McShane and his terrorists. Its matter-of-fact approach at least prevents the story from descending into cliche melodrama and characterisations. Effective location photography adds to the sense of realism in this efficient, if not wholly satisfying, suspenser.
Notes: Initial US release version ran 88m. Aka: THE TERRORISTS.
PLANET OF THE APES (USA, 1968) ****½
Distributor: Twentieth Century Fox; Production Company: APJAC Productions / Twentieth Century Fox Film Corporation; Release Date: 8 February 1968 (USA), 21 March 1968 (UK); Filming Dates: 21 May 1967 – 10 August 1967; Running Time: 112m; Colour: DeLuxe; Sound Mix: 4-Track Stereo (Westrex Recording System); Film Format: 35 mm (Eastman 50T 5251); Film Process: Panavision (anamorphic); Aspect Ratio: 2.35:1; BBFC Cert: PG.
Director: Franklin J. Schaffner; Writer: Michael Wilson, Rod Serling (based on the novel by Pierre Boulle); Producer: Arthur P. Jacobs; Associate Producer: Mort Abrahams; Director of Photography: Leon Shamroy; Music Composer: Jerry Goldsmith; Music Supervisor: Lionel Newman (uncredited); Film Editor: Hugh S. Fowler; Art Director: William J. Creber, Jack Martin Smith; Set Decorator: Norman Rockett, Walter M. Scott; Costumes: Morton Haack; Make-up: John Chambers; Sound: David Dockendorf, Herman Lewis; Visual Effects: L.B. Abbott, Art Cruickshank, Emil Kosa Jr.
Cast: Charlton Heston (George Taylor), Roddy McDowall (Cornelius), Kim Hunter (Zira), Maurice Evans (Dr. Zaius), James Whitmore (President of the Assembly), James Daly (Honorious), Linda Harrison (Nova), Robert Gunner (Landon), Lou Wagner (Lucius), Woodrow Parfrey (Maximus), Jeff Burton (Dodge), Buck Kartalian (Julius), Norman Burton (Hunt Leader), Wright King (Dr. Galen), Paul Lambert (Minister).
Synopsis: An astronaut crew crash lands on a planet in the distant future where intelligent talking apes are the dominant species, and humans are the oppressed and enslaved.
Comment: Classic multi-layered sci-fi which raises questions on the changing culture in society during the 1960s, as its premise turns evolution on its head. Heston’s cynical hero is at odds with his travelling companions as well as his eventual captors and it is a brave move for the character’s cynicism to make him not altogether likeable. Heston gives a strong performance mixing his character’s anger and helplessness with a keen determination to prove his point. Evans provides a neat contrast as the ape scientist and defender of the ape society’s faith. Schaffner directs with style with some great camera work during the opening act in the planet’s wasteland. McDowall (who would appear in all but one of the original sequels, adds charm as the archaeologist chimp. Hunter too gives a good account of herself as the only ape scientist to trust Heston. Alongside Chambers’ ground-breaking make-up there’s a top-notch score by Goldsmith and great use of desolate Utah and Arizona locations.
Notes: Followed by four sequels – beginning with BENEATH THE PLANET OF THE APES (1970) – a TV series (1974) and an animated TV series (1975-6). After a remake in 2001, the series was rebooted in 2011 with three more films commencing with RISE OF THE PLANET OF THE APES.
In Harm’s Way (1965; USA; B&W; 165m) **½ d. Otto Preminger; w. Wendell Mayes; ph. Loyal Griggs; m. Jerry Goldsmith. Cast: John Wayne, Kirk Douglas, Henry Fonda, George Kennedy, Patricia Neal, Tom Tryon, Paula Prentiss, Burgess Meredith, Slim Pickens, Dana Andrews, Brandon DeWilde, Jill Haworth, Stanley Holloway, Franchot Tone, Carroll O’Connor, Larry Hagman, Barbara Bouchet. A naval officer reprimanded after Pearl Harbor is later promoted to rear admiral and gets a second chance to prove himself against the Japanese. Bloated and flatly directed WWII drama has more than a hint of melodrama and fails to satisfy despite improvement in its final act. Script suffers by trying to open up too many dead-end sub-plots involving a casting mix of seasoned veterans and future stars. Virtues are crisp black and white cinematography and stoic performance from Wayne. Based on the novel “Harm’s Way” by James Bassett. [PG]