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 OK Film, but.. Feb 06, 2010
'The Hit' has a fine cast, is well-acted, and is shot in interesting locations. There is enough violent action in the movie to place it within the context of gangster films, but it is not overloaded with it. The real story here is about the dynamics of the interaction between the main characters, all of them outlaws in one way or another. That the film was billed as being a psychological crime drama was the lure that enticed me to watch it, as I am not usually a fan of gangster films.
The quandary for me is that I realize many people will enjoy the film, and I really don't want to discourage anyone from seeing it. But in all honesty, though I found it an OK way to spend some time(especially if watching it in good company), my overall impression was neutral, hence the 3-star rating.
In trying to analyse the reason for my non-committal attitude, the most likely solution I found is that none of the characters inspired much empathy in me. In thinking about films which I have really enjoyed, I think most of them contain characters with whom I identify strongly, or who are so exceptional in some way as to make a strong impact.
Of all the characters in 'The Hit', Willie the informer, who bought ten years of genteel exile for himself by ratting on his accomplices, is the only one who has tried to think in-depth about the larger questions of life. During his ten years of freedom, he has hit the books, examining all kinds of esoteric doctrines, in search of ultimate answers. However, there is a very utilitarian motive behind this Faust-like quest for knowledge. He has been preparing himself for that inevitable day when those he crossed would catch up to him and seek vengeance. Through whatever arcane wisdom he has absorbed, he has convinced himself that death is only a transition which he can face with equanimity. -Or has he? Willie, whose amoral self-absorption is concealed behind his winning, but vaguely effete, cherubic smile, elicited in me only a rather detached interest. Though charming, he himself is very detached concerning the welfare of anyone other than himself.
"Mr. Braddock", the hit-man sent to retrieve and then terminate Willie, first appears as an inhuman, humorless mobster(or monster), who is concerned primarily with performing his job in a professional, no-nonsense, and flawless manner. This includes everything about the job, up to and including blowing peoples' brains out in a highly professional and efficient style.--But Wait! For logistical reasons, Mr. Braddock has decided to take as hostage a pretty little spitfire of a hooker. From the first, we suspect there may be more than reasons of expediency behind the abduction of this Spanish siren. Sure enough, it becomes clear he has a soft spot for this lovely, which is interfering with his hitherto impeccable job performance. Perhaps this influence is causing a general softening of Braddock's hardened interior, as he and Willie even form a tenuous sort of bond(though both understand there is still going to be an execution). Some might say that this change in character of a hardened murderer is unrealistic. I don't necessarily see it that way. Even monsters might become mellower as aging slows them down. It's probably a physiological process, one of the few things in the film I could identify with. However, this change still didn't generate much empathy in me for this character. The fact that a hit-man of advancing years might realize there is more to life than snuffing people out doesn't really seem to be a very profound insight.
The other main male role, that of Myron, Braddock's assistant, is a good portrayal of a rather mediocre individual. Cocky, overeager, and violent, Myron does provide a certain comic relief to the film. It seemed evident from the start that Myron might not survive long enough to develop the smarts to become a winner in the crime sweepstakes. Myron's youth makes him still somewhat susceptible to hero-worship. He observes and rates the performance of his elder criminal companions much the way you would rate sports figures. Though he has a sincere streak of thuggishness within him, Myron also proves somewhat susceptible to the charms of their female abductee, which renders him ineffective in taking care of business. And, truth to tell, he is just plain bumbling and inept.
The fourth member of Willie's final road-trip is the vixen, Maggie, whose presence is exerting a dangerous and irrational influence on the behaviors of Braddock and Myron, but which leaves Willie pleasantly detached. She speaks little, but her loaded expressions seem to conceal volumes. The sphinx-like look on her face lures Braddock to try to provoke a reaction. This gambit proves to bear similarity to dancing on the rim of a volcano which is about to erupt, or kicking an inert gorilla to determine if it is sleeping or dead.
All in all, there are points of amusement and interest in this film, but from my personal standpoint, not much to make it truly memorable.
Underseen but very good Dec 27, 2009
The Bottom Line:
Though the ending seems a little too pat (why would John Hurt's character do something so stupid?) the rest of The Hit is a wonderful three-character play with a trio of Britain's best actors at the top of their game; a film that pays exquisite attention to character and is all the better for it, The Hit deserves to be seen.
3/4
 Fantastic film, the model for Transporter Nov 29, 2009
The Hit, 1985, Art House cinema that bridges the gap to popular film. The movie is somewhat slow, but full of drama, careful framing, fantastic editing, and is the role model for movies to follow.
The film opens with Willie Parker, a gangster, rating out his partners in a British court. As he leaves the courtroom, the convicted partners all sing a song about meeting some sunny day. The film then jumps forward to ten years later on a very sunny day, in a very remote town in Spain, where Willie is kidnapped and driven to his death in payment for the rating out. The story is fairly simple; it's the journey that matters.
Criterion has worked their magic on this film. The original gritty, grainy film is so clear in the darker scenes. Bright dusty scenes are crystal clear. The transfer to digital is well near perfect. The sound is fairly flat, no surround sound, and concentrates on dialog with almost no special effects. The DVD includes an approximately 40 minute late 1980's Granada Television interview with Terrence Stamp (Willie Parker). Terrence is acting the whole time, he is slow and deliberate in all his responses. It is a fairly good dessert after watching The Hit.
There is a thread that feels very similar to the original Transporter (The Transporter). The director, Stephen Frears went on to do some amazing films; High Fidelity, Dangerous Laisons, The Grifters, Mrs. Henderson Presents, and the stinker Cheri (Cheri). Tim Roth plays the infantile apprentice hit man Myron, went on to be the lead in Lie To Me, was Pumpkin in the opening before credits scene in Pulp Fiction, The Incredible Hulk, Invincible, Reservoir Dogs, and Bodies Rest and Motion. Terrence Stamp has since appeared in, Smallville, Get Smart, Star Wars Episode 1, and Wall Street to name a few movies. John Hurt plays the hit man sent to pick up Willie. Hurt has a very long history of film acting, stretching back to the Elephant Man, Midnight Express, Contact, and V for Vendetta. Across the board, performances are excellent.
The almost hour and forty minute film is the perfect length. Pacing is excellent. Framing is powerful and outstanding, when a film does this well, it is wonderful to watch. The film is rated R, and is intended for mature audiences. There is a fair amount of strong language. Several people are shot and the end result is pretty graphic. There is no nudity.
An amazing film that likely had a strong influence on later film. Criterion did an excellent job with this film. Well worth watching.
An interesting rumination on hitmen and Death Oct 14, 2009
After the long discussion with a friend about No Country for Old Men, I couldn't stop comparing that movie to Stephen Frear's 1984 film The Hit. Both movies feature cold hit men and both use their characters to explore how people approach death.
The basic plot is that a "supergrass" (epic stool pigeon, played by Terence Stamp) who squealed on his former boss in exchange for immunity has been captured 10 years later in Spain. The two hit men, wonderfully played by Tim Roth and John Hurt, are taking him to Paris for execution. It's a bit of a road trip movie, and a lot happens along the way. The most important event is when they pick up a young woman named Maggie (Laura del Sol) as a bit of insurance against a colleague ratting them out.
Hurt's character (Braddock) is a seemingly emotionless professional hit man who is getting on in years. He wears dark sunglasses indoors and out, and despite his cool demeanor and professionalism, makes several mistakes. Roth (Myron) is a new kid, taken along on his first hit as Braddock's protege, eager to prove he has what it takes, yet obviously wet behind the ears and easily manipulated. Stamp (Willie) walks through the entire movie with a calm acceptance and a bit of playful maliciousness towards his fate and captors. His demeanor mystifies both Braddock and Myron. He cites his 10 years of book reading as the foundation for his new outlook on life and death.
**spoilers begin with the comparison of Braddock to Chigurh below**
Myron thinks he's ready to see death, to deal it, but each time he is given the opportunity he avoids it. By the end he's not so sure he wants to be a hit man at all. And, of course, he has no idea when it's coming for him, and his last words as Braddock's bullet goes through his eye are, "What's this?"
Willie has read books about life and death for 10 years, and seems very confident in his understanding of them. He goes along willingly (after his initial struggle when he is captured) for the entire ride, and even refuses to escape when given the opportunity. He seems to enjoy being "above" everyone else and mischievously causing trouble with Braddock and Myron. His mischief isn't innocent, either, as he gets a man killed by suggesting to Braddock that a particular man will squeal. He knew exactly what Braddock would do, and that it wouldn't affect his own fate at all, but he still does it. Yet, at the very end, when Braddock decides to execute everyone before they've crossed the border, Willie breaks down. He insists that he was supposed to die in Paris, according to the plan, and runs off, getting shot in the back. Braddock's response to Willie's change of heart is an incredulous, "You mouth!" Willie thought he had learned to accept death, but when he finally came face to face with it, it undid him. We'll never know how he would have responded had he actually met it in Paris as expected.
Braddock is the only figure of the group that actually deals death. I don't think he represents death as cleanly as Chigurh does, but he is clearly its agent. He knows he can't escape it forever, so he seems to have resigned himself to being its tool. He may think that as its agent he has more control over his own time and place. His puzzlement at Willie's acceptance makes him question his own beliefs about death. He thought he understood it, but here is a man who doesn't seem to fear it at all. This causes him to question himself throughout the movie, and make "mistakes" that he normally wouldn't have, like sparing Maggie several times. Even after Willie shows his true colors and shatters the illusion that had been building, Braddock still ultimately spares Maggie, perhaps because she saw it coming and refused to accept it; she even physically fights Braddock on several occasions. Braddock is perhaps hopeful to retain the tiniest sliver of his humanity by sparing Maggie. Or, maybe he just respected her will to live. Minutes later, as he lay dying because of letting Maggie go, he winks at her, and has no choice but to accept his fate.
**end spoilers**
There's more to it than I've laid out here (I haven't mentioned the stylish production -- location, music, etc.), but that was the most interesting aspect to me, and I'd be curious to hear anyone else's opinion.
With regards to the DVD, Criterion has put forth a top-notch effort. I enjoyed listening to sections of the commentary, and the transfer is very nice.
1 of 2 found the following review helpful:
IT WAS SHOT SPHERICAL Sep 08, 2009
To all those of you using the phrase pan&scan as if you understood film and TV science for your information
this film was shot in the camera as spherical. That means acadamy that means a perfect fit on a traditional
4:3 ratio TV set without any pan and scanning. I owned the Laserdisc and it was fine in 4:3. The so-called
widescreen version is NO wider just less height with the top and bottom sliced off.
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