Review: The Mechanic (1972) TH

You won't find this mechanic in the phone book

This is an early '70s crime/action/thriller, so there aren't going to be an insane amount of edits and the picture is going to be more focused on fleshing out the story than giving motion sickness or temporary epilepsy. It includes some extended shots to make the viewer feel more at home than cutting right to the chase and moving from temporary place to place. There are zoom ins, interconnected shots, bell bottoms and side burns for that contemporary time stamp that it can't escape, though that doesn't take away from it being an effective character driven piece that still holds up today.

The audience is introduced to the inner working of a "mechanic": someone who disposes of bad guys by making it look like an accident. Charles Bronson easily sells the part as Arthur Bishop with his rugged and tough looks, as well as a sarcastic and reserved outlook. Like he's perfectly capable of giving out harm at any time, but also has a certain amount of measurement and philosophy to what he does to make a system out of it. Bishop is a loner who doesn't show his emotions, which includes not speaking for the first fifteen minutes of the film and only first to his friend Harry (Keenan Wynn) who's having some trouble with the organization they work for. Harry knew Arthur's father well and he wants him to speak on his behalf to smooth things over, though the organization still makes their final decision by sending him a hit packet on Harry.

The arrogant son named Steve (Jan-Michael Vincent) could care less of his father's passing as he was a "pusher, pimp, thief, arsonist" and precedes to be as cocky and spoiled as he was before with raging parties and no sense for responsibility. A close woman called him and said she's going to kill herself for his attention and sympathy, though instead of showing concern he arrives with Arthur to watch with morbid curiosity. This sets up the ground work and with some active pursuit on Steve's part, including doing adrenaline junky type activities together, Arthur sees that he might have it in him to do the impassive line of work he does as a mechanic and takes him under his wing as an associate and possible companion.

They patiently study their target's habits and wait it out for the perfect opportunity by finding a hole in their security. They plan one way and the job goes another, leading to the organization being a little worried that Steve is on board without their permission and in turn this leaves a possibility that he might ruin what's supposed to be covert operations in the shadows, not a motocross chase during broad daylight and where witnesses can see. To smooth things over they end up in Rome, Italy to do a "cowboy job," which means their target needs to be immediately taken out at whatever the cost, accident or no accident. From what starts out as a training and character development piece with partnership in the making turns into a climactic finale with a heated shootout with car chases and explosions when the characters get pushed against a wall. If that wasn't enough a twist happens, where one of them has an ulterior motive, but like a calculated game of chess so might the other.

The cinematography, music and pacing are all well timed out. More times than not the camera and music are doing more talking and sharing than the players. It gives the film a solid backdrop and a particular atmosphere with extended strings and intermittent piano to make it intriguing and put all the clandestine operations into their respective places. This has some relating factors that include skipping the court system to see deserving bad guys immediately receive justice like "Dirty Harry" ignited just a year prior. It shows someone live the high-life, make their own hours, kill with purpose, sleep with escorts without consequence, though all at a cost of not having a productive social life with some consistency and true relaxation for what's around the next corner. Charles Bronson and Jan-Michael Vincent put on interesting performances though not all of the co-stars are very notable, with some that instead perform like caricatures of their type. There is also some misplaced dry humor when most of the film is rolling with a more serious structure. This has an abrupt ending but then again it's a cold business and closes the curtains more accordingly than, say, "The Italian Job," which ended up in the air.

Director: Michael Winner (Chato's Land, Death Wish, The Sentinel)
Starring: Charles Bronson, Jan-Michael Vincent, Keenan Wynn
Website: IMDB

Once Upon a Time in the West (1968)

Starring: Henry Fonda, Claudia Cardinale, Jason Robards, Charles Bronson, Gabriele Ferzeti

Directed by Sergio Leone

IMDb: http://www.imdb.com/title/tt0064116/

Wikipedia: http://en.wikipedia.org/wiki/Once_Upon_a_Time_in_the_West

"Once Upon a Time in the West" is the kind of movie you fall in love with. It shows all the aspects that people have come to enjoy about the western genre, and through the eyes of complex characters as they struggle, fail, and prosper in a live-or-die environment.

It starts off with a group of robbers standing around at a train track. And that is it; they just stand there, drinking water and investigating the actions of a fly for about 5-10 minutes. And yet it is fascinating to watch. They are then confronted by Charles Bronson, who plays a role similar to the one played by Clint Eastwood in Sergio Leone's other "Spaghetti westerns": he does not have a real name, is generally a loner, and does not talk very much. Unlike Eastwood's character, however, his is motivated by personal reasons rather than money. He is also different in the fact that he frequently plays what has to be one of the creepiest harmonica ever (and he is consequently refereed to as "Harmonica" as the film progresses). Its haunting sound does not always spell doom...but sometimes it does.

In the following scene, a family by the surname of McBain is about to welcome their matriarch, who is arriving from New Orleans at a nearby train station. However, they are brutally murdered on their farm by a gang of outlaws lead by Frank, portrayed by the legendary Henry Fonda in a role where he plays against type. His calm demeanor and soft blue eyes that brought a sense of humility to his other characters make this role even more sinister. Although his action show that he posses a certain level of intelligence, he is too cold-blooded to be anything more than a killer.

When Jill McBain (Claudia Cardinale) first arrives, she observes the town around her in what is one of the best shots of the whole film. It shows everyone just going about their daily lives before entering the outskirts, revealing the beautiful mountains of Monument Valley in Utah where it was filmed. It is set to the brilliant score by Ennio Morricone, who is basically to Leone what John Williams is to Spielberg. On a side note, the whole soundtrack to this film is brilliant, from the aforementioned harmonica tune, the main theme which I just mentioned and even the humorous "trotting" music that is played later on. It just really sets the tone for the movie and this scene is the perfect example of it.

Before arriving home, she goes into a shop where she meets Harmonica, as well as Cheyenne (Jason Robards), a crude outlaw who nonetheless has a heart and ends up. When she finds that her family is dead, her mourning is brief and her tough personality makes her decide to remain where she is in order to make a new life for herself, becoming a symbol of self-reliance and individualism that helped propel the West into a established part of American culture.

It turns out that her family was killed because her husband had refused to hand over his land to a railroad baron named Morton (Gabriele Ferzeti) who is in collaboration with Frank. Morton is a surprisingly sympathetic villain because, although he does posses a sense of monetary greed, his real goal is to have is railroad reach the Pacific Ocean before he succumbs to tuberculosis, which is slowly crippling him. It is interesting to see him and Frank interact with each other because even though they are technically partners, they have different goals and ways of getting things accomplished...and they do not get along very well. Frank thinks that he is physically and emotionally weak, while he believes that Frank is a wild man who is too dangerous to be associated with. As a result, the uneasy relationship slowly but surely deteriorates.

On the other side of the conflict, Jill, Cheyenne, and Harmonica, despite not always being on the best of terms themselves, manage to form an alliance in order to defend the farm. Meanwhile, Jill discovers her late husband's (Frank Wolff) plans and decides to pursue them. I will not say what they are, but they continue the whole theme of a new beginning for the people who live in the West.

In short, this film is a masterpiece. The great acting, fantastic music, and wonderful story all come together into this wonderful work of art. Almost needless to say, It is one of my personal favorite movies of all time. I definitely recommend it.