The Friends of Eddie Coyle-1973
Starring-Robert Mitchum, Peter Boyle
Scott’s Review #1,151
Reviewed June 11, 2021
Borrowing heavily from the standard cop thriller films to emerge during the early 1970s but containing a unique cynicism and a point of view all its own, The Friends of Eddie Coyle (1973) is a taut and engaging crime thriller that will please fans of the genre but never bailing on those cinema fans seeking a more intellectual experience.
The Boston landscape is plentiful and a treat for fans of locale shoots and 1970s qualities.
A superior film based against the many similar films to be created during the decade, there is a moroseness that encompasses the experience. I felt sorry for the main character and The Friends of Eddie Coyle lacks a clear good guy versus bad guy standard. This actually helps the film.
What I’m trying to say is that those crime thriller fans desiring a clear hero or standard characterization might be unsatisfied or miss the point, though the bank robbery scenes alone are worth the price of a ticket.
Some say, Robert Mitchum, cast in the title role gives his finest film performance but I wasn’t entirely blown away. The film is an ensemble and at times Eddie Coyle feels like a supporting character. Think Ma Rainey in Ma Rainey’s Black Bottom (2020). Instead, I ruminated over his brilliant performances in my two favorite films of his, The Night of the Hunter (1955) and Ryan’s Daughter (1970).
His performance is fine but all the actors bring their A-game.
Aging low-level Boston gunrunner Eddie Coyle (Mitchum) is fearful of the possibility of several years of jail time for participating in a truck hijacking in neighboring New Hampshire. Having a wife and kids dependent on him, and feeling old and desperate, he volunteers to funnel information to Dave Foley (Richard Jordan), an ATF agent.
Eddie buys some guns from another gunrunner, Jackie Brown (Steven Keats), then gives him up to Foley, but the agent isn’t satisfied. Panicked, Eddie decides to also give up the gang of bank robbers he’s been supplying, only to find that Foley already knows about them, and the mob believes Eddie snitched.
These events do not bode well for poor Eddie who now has a mark on his back.
The Friends of Eddie Coyle has a handful of plots happening simultaneously. There is Eddie’s predicament, the saga of the bank robbers and the bank owners they put in peril, and a bartender played by Peter Boyle (of televisions Everybody Loves Raymond fame), who is also an informant. The stories intertwine but sometimes not quite enough and a conclusion over how the players relate is sometimes unclear.
From the get-go, I was reminded of Dirty Harry (1971) which arguably propelled the cop/crime thriller/crime drama to mainstream audiences. Dave Grusin gets credit for the music composition and creates a similar score to Dirt Harry with funky tempo, time-relevant arrangements. They really work and fit the times perfectly.
Differing from Dirty Harry, which is a superb film in many ways, is the messaging. Whereas, Dirty Harry professes a good vs. bad approach and a conservative pro-gun stance, The Friends of Eddie Coyle doesn’t partake in schooling the audience on the viewpoints of most cops. The bad guys are complex and nuanced characters with worries and fears to wrestle with themselves.
The location sequences are plentiful and give the film authenticity and Boston appreciation. The classic Boston Garden is featured as two characters attend a Boston Bruins hockey game. The Charles River, downtown, and surrounding areas like Quincy are featured. Director, Peter Yates certainly creates a blue-collar, Irish-represented community.
Lovers of classic 1970s American automobiles will be in heaven. I spotted a Ford Galaxy, Chevy Impala, and similar full-sized cars. One character drives a green muscle car. I mean, there are tons and tons of car sequences in this film.
The seedy Boston underworld, a terrific performance by Robert Mitchum, and enough guns, car chases, and bank robberies to satisfy the action audience, The Friends of Eddie Coyle (1973) is a win. The film didn’t stick with me as much as I would have liked but it’s a striking entry in the crime thriller genre.