The Hit

Rating:
Summary: The Best Film Noir You've Never Seen .
Review: The old song goes: "Hooray for Hollywood , where you're terrific if you're only good."

All too true. So at the risk of sounding snobbish, let me start by saying that this gem boasts three terrific actors---even by British standards---Johh Hurt, Terence Stamp and, in his film debut, Tim Roth.

Can't ask for better.

Story by Peter Prince, directed by Stephen Frears; a few years before he became a major name with 'Dangerous Liasons.'

So far, so good. Now here's the tough part: What's the film about?

At first it seems simple enough. A small time gangster (Stamp) has grassed , or as we say in America, squealed on his cohorts. Having turned state's witness, he's let off the hook and proceeds to hide out in a small village in Spain. Ten years later the gang is out of prison, they've discovered his whereabouts and sent their top hit man (Hurt) and his eager hooligan apprentice (Roth) to kidnap and bring him to Paris where they intend to execute him in front of The Boss. If anything goes wrong, they're to kill him immediately.

So much goes wrong that some professional reviewers listed the genre of this film as 'Comedy'

Er... way off base, though it does have some very funny moments. The greatest complication in the list of what goes wrong is Maggie, a 15 year old (or is she?) Spanish babe, which they end up having to take along for the ride , played by the actress Laura del Sol.

An appropiate name since this noir film is brightly scorched by the Spanish sun. An intended thematic point. Hurt and Del Sol are passionate animals, fighting for life.

On the other hand, Stamp, who has known for ten years that death at the hands of the mob was inevitable has spent his time preparing for his demise by " Reading wonderfull things."

He appears to have transformed himself from petty thief into another Socrates. Death, he tells us is 'as natural as breathing.' Far from making any attempt at escape, he infuriates Hurt by helping him along--fixing his car when it breaks down, for example.

Is he real or full of it?--Or as they say in England " You mouth! "

Great ending, which I won't give away, may (?) answer the question.

Yes it is Film Noir, yes it's a gangster film but --No I'm NOT going to tell you that it 'transcends the genre ' that's a dumb cliche. The story uses the plot device of a hit man ( speaking of dumb cliches perhaps the most annoyingly prevalent around these days--every year there's a dozen 'hit men' flicks) and turns it spectacularly on its head into a superb story with phenomenal characters.

Rating:
Summary: Simply Complex
Review: This early effort of Stephen Frears is a remarkable example of the film genre that it helped to inspire. Made in 1984, it is one of the early "road" films which has become a Hollywood cliche (interesting or unusual characters driving cross country, often shot in the desert: see Thelma & Louise, Wild at Heart, etc.)

On the surface, this is a straightforward tale of a mafia style abduction and murder; and it can be viewed and enjoyed on this level only. Yet, when you look beyond the action and study the characters, the possibilities for the motivations and circumstances of their actions become infinite.

I have viewed this movie many times, and I still am trying to decipher the subtext(s): Is Braddock intentionally making the job more complex than it needs to be? Does Willie (the intended victim) really believe in the spiritual peace he claims to have found, or is it just a pretext to stay alive long enough to save himself through trickery? Who exactly is the young Spanish girl?

This is one of those films which can be viewed again and again, each time presenting something different to the viewer....

Rating:
Summary: Simply Complex
Review: This early effort of Stephen Frears is a remarkable example of the film genre that it helped to inspire. Made in 1984, it is one of the early "road" films which has become a Hollywood cliche (interesting or unusual characters driving cross country, often shot in the desert: see Thelma & Louise, Wild at Heart, etc.)

On the surface, this is a straightforward tale of a mafia style abduction and murder; and it can be viewed and enjoyed on this level only. Yet, when you look beyond the action and study the characters, the possibilities for the motivations and circumstances of their actions become infinite.

I have viewed this movie many times, and I still am trying to decipher the subtext(s): Is Braddock intentionally making the job more complex than it needs to be? Does Willie (the intended victim) really believe in the spiritual peace he claims to have found, or is it just a pretext to stay alive long enough to save himself through trickery? Who exactly is the young Spanish girl?

This is one of those films which can be viewed again and again, each time presenting something different to the viewer....

Rating:
Summary: Clever, crafty and roguish British genre film
Review: This fresh cinematic spin on the infamous "Hit Man" doesn't seem to be well known and that's a shame. 'The Hit' is very sly and cunning, stepping far astray from the usual efficiency associated with these individuals, and contains ingenious plot twists guaranteed to keep you guessing. Though it is British the film remains accessible to all moviegoers; the accents are easy to understand and the dialogue is not completely bound to British standards.

A pair of hit men, Braddock, a wily veteran and Myron, a greenhorn, track down former gangster Willy Parker, who squealed on his former partners and has been hiding out in Spain for ten years. The hit men intend to take Willy to Paris to meet his former boss before he is summarily executed but an unexpected complication occurs that throws the plan into disarray. Attempting to alleviate the problem only causes it to snowball beyond belief and soon the two hit men are forced to take a hostage along the way. Willy's lackadaisical approach to his certain demise displeases his "escorts" who expect him to be quite fearful of his impending doom. The hostage is a bit of puzzlement as well and Myron takes it upon himself to look after her interests. As events continue unfolding causing more chaos it isn't long before Myron is questioning Braddock's control of the situation.

To say anymore would be an unforgivable transgression; suffice it to say that 'The Hit' is a movie you won't regret having spent time watching. Besides being directed by Stephen Frears it also features Terence Stamp, John Hurt and Tim Roth - his film debut - in the three key roles. The screenplay allows for a few terrific action sequences, frequent suspense, laugh-out-loud humor and even some very memorable scenery in Spain. The theme music performed by Eric Clapton is among the best of his compositions and he gets an assist from Roger Waters of Pink Floyd fame. 'The Hit' is a movie deserving of cult status for its many offbeat touches and unconventional manner of storytelling. Do yourself a real favor and set aside some time to watch this film - but beware! You'll find that once isn't enough!

Rating:
Summary: Clever, crafty and roguish British genre film
Review: This fresh cinematic spin on the infamous "Hit Man" doesn't seem to be well known and that's a shame. 'The Hit' is very sly and cunning, stepping far astray from the usual efficiency associated with these individuals, and contains ingenious plot twists guaranteed to keep you guessing. Though it is British the film remains accessible to all moviegoers; the accents are easy to understand and the dialogue is not completely bound to British standards.

A pair of hit men, Braddock, a wily veteran and Myron, a greenhorn, track down former gangster Willy Parker, who squealed on his former partners and has been hiding out in Spain for ten years. The hit men intend to take Willy to Paris to meet his former boss before he is summarily executed but an unexpected complication occurs that throws the plan into disarray. Attempting to alleviate the problem only causes it to snowball beyond belief and soon the two hit men are forced to take a hostage along the way. Willy's lackadaisical approach to his certain demise displeases his "escorts" who expect him to be quite fearful of his impending doom. The hostage is a bit of puzzlement as well and Myron takes it upon himself to look after her interests. As events continue unfolding causing more chaos it isn't long before Myron is questioning Braddock's control of the situation.

To say anymore would be an unforgivable transgression; suffice it to say that 'The Hit' is a movie you won't regret having spent time watching. Besides being directed by Stephen Frears it also features Terence Stamp, John Hurt and Tim Roth - his film debut - in the three key roles. The screenplay allows for a few terrific action sequences, frequent suspense, laugh-out-loud humor and even some very memorable scenery in Spain. The theme music performed by Eric Clapton is among the best of his compositions and he gets an assist from Roger Waters of Pink Floyd fame. 'The Hit' is a movie deserving of cult status for its many offbeat touches and unconventional manner of storytelling. Do yourself a real favor and set aside some time to watch this film - but beware! You'll find that once isn't enough!

Rating:
Summary: Brooding tale, cinematically wonderful
Review: This is an amazing film. Tim Roth appears in his pre-reservior dogs career as a cocky, immature, over confident apprentice, understudy to John Hurt's brooding, cold and professional hitman.

The pro is not keen on having Roth's character along for the ride, so there's an exploration of the dynamic between the young turk and the old pro here. The object of their employment is played by Stamp, and I seem to remember that this movie represented his return to film acting after a long break. He is totally on form in this movie, playing the runaway con who's been looking over his shoulder since his escape from his homeland.

The film was shot on location in Spain and a lot of the location shots are wonderful, a combination of beauty and brooding threat. There's a couple of plot twists to keep you on your toes, and solid ending to the movie.

I saw this at the Odeon Haymarket in London during it's cinematic release and though video does not do it justice, it's a great story and one of my top 10 movies of all time.

Rating:
Summary: Very smart thriller
Review: When a filmmaker has three tremendously talented actors converge in a story that makes their characters' emotions overlap in a potent mix of bitterness, resignation, impulsive anger, sympathy, and mordant humor--and does so via whip-smart dialogue--you know you're in for a real cinematic treat.

So it is with The Hit, a sharp thriller from Stephen Frears who went on to make Dangerous Liaisons as well as, unfortunately, The Grifters. Tim Roth (one of his first roles), John Hurt, and Terence Stamp all contribute knockout performances in roles that match their personas perfectly--Roth as Myron, the cocky, quick tempered young thug whose boss, Braddock (John Hurt), embodies the cynicism that intelligent criminals feel after being in the life for a number of years. And Terence Stamp is Willie Parker, the rat, another British gangster who squealed on his mates ten years earlier and has been hiding out in sunny Spain all the while.

Enter Braddock and Myron to nab him and bring him to vengeful justice at the hands of Mr. Corrigan, the gangster boss. To do so, they'll drive Parker through Spain and into France--Paris, in particular, where Corrigan has now set up shop. But complications arise along the way, not least of which is a stopover in Madrid where the gangsters pick up a beautiful, earthy hostage played by Laura Del Sol, a fiery young woman who knows men well. Very well.

With a great score by Paco de Lucia, one of Spain's premier guitarists, and cinematography rhapsodizing the glories of the Spanish countryside, this is truly a unique film. The journey of these four by car on the dusty roads of Spain brings to the fore their need, in various ways, to understand where they are and what they're doing. Does Parker actually look forward to his death? Does Braddock know what he wants to do? Or is he unsure?

The seesawing emotional conflicts that emerge give this film a tense subtle power obviously missing in far too many films today. Made in 1984, it's a great piece of cinema that is now happily available on DVD. Highly recommended.