Category Archives: Charles Bronson

#187 Favorite Film, 1968 Films, Charles Bronson, Claudia Cardinale, Gabriele Ferzetti, Henry Fonda, Jason Robards, Keenan Wynn, Sergio Leone, Top 250 Films, Western

Once Upon a Time in the West-1968

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Once Upon a Time in the West-1968

Director Sergio Leone

Starring Henry Fonda, Charles Bronson, Claudia Cardinale

Top 250 Films #187

Scott’s Review #886

Reviewed April 17, 2019

Grade: A

At one time dismissed as either frivolous or cartoon-like, the derogatory genre classification “spaghetti western” was originally played for laughs or featured a comical slant, often with bad lip-syncing.

Many of these films have aged tremendously well, though, and are now more widely appreciated and have become a part of the cinematic canon.

Once Upon a Time in the West (1968) is a lesson in camp art that marinates like a fine steak, drizzling with texture and a good atmosphere across a sprawling two-hour-and-forty-six-minute landscape.

In a great sequence, the film begins with a mysterious harmonica-playing gunman (Charles Bronson), dubbed “Harmonica” for reasons eventually revealed, shooting three men sent to kill him.

Meanwhile, to get his hands on prized railroad land in Sweetwater, disabled railroad baron Morton (Gabriele Ferzetti) hires killers, led by blue-eyed baddie Frank (Henry Fonda), who murders property owner Brett McBain (Frank Wolff) and his family.

The film immediately exudes intensity, with a severe revenge theme.

The story develops further, with romance mixed in a Western style, as McBain’s newly arrived bride, Jill (Claudia Cardinale), inherits the land instead.

Jill is a former prostitute who catches the eye of most of the men she encounters. Both outlaws, Cheyenne (Jason Robards) and Harmonica, take it upon themselves to look after Jill and thwart Frank’s plans to seize her land.

With standard Western flair, they are both attracted to Jill and yearn for her affection while also feeling protective of her.

Not professing to be enamored with the Western genre- the stereotypical Cowboys and Indians and token damsel in distress have their limitations- Once Upon a Time in the West is a feast for the eyes and the ears with cinematography on par with Lawrence of Arabia (1963) and a killer musical score.

While the story may have a traditional backbone, the nuances are astounding. The sweeping mountains of the western United States are heavily featured, and the tension-infused music sets up every thrilling scene with gusto and foreboding.

Hot on the heels of another similarly themed masterpiece, The Good, The Bad, and The Ugly (1966), Leone delivers the goods at every turn, most notably setting up each scene with sizzling elements that emit a clear sense of danger.

The audience knows trouble is about to transpire, but not exactly when the shit will hit the fan. The family death scene is paced astoundingly well as the family merrily goes about preparing a delicious summer meal, unaware that destruction is around the corner.

Sure, the cast is a mix of American and Italian actors with varying degrees of accents, not exactly mirroring the Wild West.

Yes, Jill wears heavy mascara and a hairstyle straight out of the 1960s, and one character has brightly dyed red hair, but these intricacies give the film character rather than turn the production into a disheveled mess.

Forever known for heroic or everyman roles, Fonda plays against type, cast as the central, sadistic villain, and the result is superlative.

Leone’s ability to cast a legendary star in production with little expectations is quite a feat, and Fonda seems to revel in role-playing him dangerously and straight.

With his piercing blue eyes and a gaze sure to make children run away in terror, his brutal villainy is fully realized only at the film’s conclusion.

Dozens of iconic comparisons to Quentin Tarantino’s modern directing style can be drawn. The director undoubtedly watched and studied this film repeatedly, as numerous qualities mirror his movies.

Viewers will delight in drawing these comparisons, including a harmonica reference, a revenge story, and the climactic reveal at the end of the film via flashback, which pulls all the pieces together.

Once Upon a Time in the West (1968) is a quality film that has finally gotten its due. Tremendous and compelling storytelling is combined with flavorful qualities and a dusty atmosphere.

The film is the sum of all its parts, and while at first underappreciated, it has finally risen to the ranks of a high-quality masterpiece.

Influencing many great directors, including Martin Scorsese, George Lucas, and Tarantino, is quite a testament to its staying power.

1987 Films, Action, Charles Bronson, Danny Trejo, J. Lee Thompson

Death Wish 4: The Crackdown-1987

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Death Wish 4: The Crackdown-1987

Director J. Lee Thompson

Starring Charles Bronson, Kay Lenz

Scott’s Review #1,319

Reviewed November 29, 2022

Grade: C+

I have an interesting relationship with the Death Wish films. Besides the first and maybe its follow-up, they pretty much suck, and that’s being kind.

They possess a machismo and right-wing, pro-National Rifle Association stance that’s just not my cup of tea.

To make matters worse, poor acting, stagey action sequences, an explosive overuse of smokey ammunition, and endless cliches riddle the screen throughout nearly every scene.

Sure there’s usually some heartwarming romantic moment or a justification for the killings but the series is solidly amateurish.

With my nose to the grindstone I somehow, someway, plodded through all five of the Charles Bronson film series installments and lived to tell.

I refuse to see the tepidly reviewed unrelated 2018 incarnation starring Brice Willis.

But, the funny thing is with all the cinematic negatives the Death Wish films are fun in a campy, silly way. Hardly high art, they instead provide the viewer with fluff and a quick ninety-minute experience in shoot ’em-up revenge-seeking bloodletting.

With Death Wish 4: The Crackdown (1987) the filmmakers cleverly leverage the 1980s excess with a witty subtitle channeling the crack epidemic of the day set against the backdrop of lusty Los Angeles and the drug carnage seeping over the United States border from neighboring countries.

Some thirty-five years later the premise is dated to say nothing of riddled with stereotypes but at the time the plot must have seemed downright modern.

Paul Kersey (Bronson), who is no stranger to vigilante justice, is pulled back into the underworld of gritty Los Angeles when the daughter of his new girlfriend, Karen (Kay Lenz), dies after an overdose of crack cocaine.

Intent on dishing out a healthy dose of vigilante justice, he goes after the drug lord who ultimately supplied the crack, apparently forgetting to focus on the social issue of why the young girl was taking drugs in the first place.

The First Lady Nancy Reagan’s famous anti-drug slogan, ‘Just say no’ fell on deaf ears.

As he hunts down the kingpin’s henchmen, Paul starts taking out a large part of the city’s drug-dealing population on a violent killing spree while posing as a dimwitted bartender.

The acting is laughably bad from Bronson on down to the bit players.

My favorite bad scene is when an interracial couple squabbles on their way out to dinner from the luxurious highrise apartment they inhabit.

As she sits in the limo brooding and cursing her mate who forgot something from the apartment, he is suddenly hurled from his penthouse onto the limo as she shrieks with anguish, after wishing him dead only seconds prior.

Director, J. Lee Thompson, well past his prime in the late 1980s forgot to tell his actors to add a bit of humor to the horrendous line delivery.

Or, he might have just phoned the whole thing in himself.

The film is by the numbers and one attempt at a twist toward the end is an inspired effort. A pivotal character is shockingly killed and it ain’t Paul who meets his maker either.

I didn’t see this surprise coming.

Nonetheless, despite the myriad of bad qualities contained within Death Wish 4: The Crackdown, the bad guys do get their just desserts which are delightful to witness.

Death Wish 4: The Crackdown (1987) is best served up on a rainy afternoon when the viewer can munch on popcorn and lazily escape the day away with solid cinema trash.

1953 Films, Andre de Toth, Carolyn Jones, Charles Bronson, Frank Lovejoy, Horror, Paul Picerni, Phyllis Kirk, Vincent Price

House of Wax-1953

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House of Wax-1953

Director Andre De Toth

Starring Vincent Price, Phyllis Kirk

Scott’s Review #1,081

Reviewed November 13, 2020

Grade: B+

House of Wax (1953) is a classic horror film that should be seen by anyone who enjoys the genre. Its macabre elements make it a must-see.

Be sure to watch the 1953 version, not the mediocre 2005 remake that starred Paris Hilton with a severely changed storyline.

Interestingly, the 1950s version is a remake of the 1933 film Mystery of the Wax Museum, which I was unaware of until recently.

Pre-code 1930s horror is brilliant, so I cannot wait to watch this offering soon.

The production has the honor of being the first color 3-D film released by a major film studio, and the result is stylish and impressive for that early stage of cinema. If this isn’t enough, Vincent Price also stars.

With these riches, one could anticipate a masterpiece like Frankenstein (1931) or King Kong (1933). It’s not entirely on that level with a B-movie vibe that rises immensely in respectability with exquisite human art, a chilling premise, and a lesson about historical figures of long ago.

The film is a very short eighty-eight minutes.

The haunting and atmospheric opening titles immediately showcase the 3-D appearance in the first shot alongside a rainy and dreary New York City set in the early 1900s.

Director Andre De Toth confirms to his audience that it’s a 3-D film with the bold title leaping out of the screen within seconds. This sets the tone perfectly as the illustrious wax museum set is up next.

Wax creations like Marie Antoinette, John Wilkes Booth, and Joan of Arc pose in the vast gallery.

Henry Jarrod (Price) is a Professor who views his creations as his children, each unique and human-like to him. Marie is his ultimate masterpiece, and one wonders if she is his fantasy wife. His business partner, Burke (Roy Roberts), wants out of their partnership and takes drastic measures to gain insurance money. He sets fire to the museum, which burns to the ground, horribly disfiguring Henry.

The Professor goes off the deep end and rebuilds the museum using real human beings that he steals from the morgue! Frankenstein’s influence is evident.

Besides Price, the star is the wax museum, almost a character, but never upstages Price. Henry is sympathetic and menacing, and I felt sorry for the guy. Not only is his house of wax destroyed, but he has a disfigured face for life. His insurance policy benefit is of little comfort, nor is killing the man responsible for his misfortune.

We should root for the main couple, Sue Allen (Phyllis Kirk) and Scott Andrews (Paul Picerni), and attempt to understand why the wax figures look like dead people they know.

They are not the most substantial element of the film, though. Like other famous horror villains, Norman Bates and Hannibal Lecter, Henry is appealing, and we like him.

I would have liked to learn more about Henry before his ruination. Besides a brief tour of his museum, where he cleverly describes each work, we don’t know much about his life. He is creepy, but what else? Has he ever married? What are his parents like?

Charles Bronson and Carolyn Jones have minor roles as Henry’s mute assistant, Igor, and Burke’s gold-digging girlfriend, Cathy, respectively. This is fun since both went on to legendary careers in film and television.

A must-see for anyone studying cinematic technique or good horror trimmings, House of Wax (1953) contains state-of-the-art effects for the time, illuminating gas-lit streets of New York City, and a finale that includes a boiling hot vat of molten wax (what else!) that inspired a James Bond film.

These facets are lovely, but any horror film starring Vincent Price is worth the price of admission.

1963 Films, Action, Charles Bronson, Donald Pleasance, Epic, James Coburn, James Garner, John Sturges, Richard Attenborough, Steve McQueen, War

The Great Escape-1963

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The Great Escape-1963

Director John Sturges

Starring Steve McQueen, James Garner, Richard Attenborough

Scott’s Review #1,053

Reviewed August 17, 2020

Grade: B

Often heralded as one of the great World War II action films of all time, there is little great about the first half of the interminable two-hour and fifty-three-minute running time.

With enough military silliness to make television’s Hogan’s Heroes seem like high drama, the first half of The Great Escape (1963) would be graded a mediocre C or a C- and that’s being generous.

The final hour is entirely different. The film kicks into high gear when the actual “great escape” is launched. Not only does the action begin, but the characters become more layered, emotional, and compelling.

Killer location shots of Germany and Switzerland occur at a zooming pace, and the comedy soon turns to tragedy.

I don’t understand why the decision was made to save all the goodies for the final act instead of dispersing them throughout the film, but I am glad it took off.

Directed by John Sturges, known for creating a similarly masculine and muscular offering from 1960, The Magnificent Seven,  he once again is lucky to cast several of Hollywood’s then hot, young stars like Steve McQueen and James Garner, and more relatable character actors like Donald Pleasence and Richard Attenborough who provide the acting grit.

While not on my list of great World War II films (Schindler’s List (1993) gets top honors), the film is recommended for the enthralling finale alone.

The film is based on Paul Brickhill’s 1950 nonfiction book of the same name, a firsthand account of the mass escape by British Commonwealth prisoners of war from German POW camp Stalag Luft III in Nazi Germany.

Unsurprisingly and shockingly, the actual events are significantly modified from the historical record, depicting a starkly fictionalized version of the escape, including Americans among the escapees.

Let’s discuss both portions, warts and all.

The changes are most irritating and done to make it more “Americanized” and, therefore, more appealing to mainstream audiences. This manipulation gnawed at me during most of the film since it’s factually incorrect.

There is a brief disclaimer at the beginning with a note saying the story is a work of fiction save for the escape portion, but this will inevitably be unnoticed or forgotten by the casual viewer.

Most of the first arc action is spent within the confinement of a massive, high-security, prisoner-of-war camp where the group of men is huddled, having escaped other camps or prisons. You would think the camp would be the equivalent of Alcatraz, but besides some barbed wire and not-so-threatening German soldiers with guns they rarely use, it’s not so intimidating.

Nonetheless, the group plots their elaborate, mostly underground escape upon arriving.

Whoever composed the musical score for the first section wanted to create a campy, situational comedy-style tone with brassy, patriotic tunes worthy of Gilligan’s Island.

This does nothing to create tension or danger, nor do the Nazi soldiers.

The men would be terrifying and rely on torture, but there is none of that to be found. Safe, but trying to be stern, this does not work as the German soldiers are played more like foils than those to be feared.

When the “great escape” is upon us, The Great Escape gets an A-plus for its thrills, action, and emotion.

A harrowing plane ride by Robert Hendley (Garner) and Colin Blythe (Pleasence) is juicy with tension and atmosphere. The plane exhibits trouble as the duo flies low across the German terrain, heading over the Swiss Alps for safety.

Meanwhile, Hilts (McQueen) steals a motorcycle and traverses the Germany/Switzerland border in a frantic chase scene while the Germans are in hot pursuit.

In a third sequence, other men flee via train in a cat-and-mouse pursuit.

Seventy-six POWs flee the camp, and a startling fifty are killed. Twenty-three are returned to the camp, and only three successfully escape.

If Sturges had built around the final hour and reduced the silly comedy style, probably attempting a contrasting theme to make the drama more imbalanced, he might have had a masterpiece.

Instead, The Great Escape (1963) is a twofold experience.

The comedy develops into a nail-biting, edge-of-your-seat thriller but suffers from too much historical inaccuracy to reach the depths of cinematic greatness.

Oscar Nominations: Best Film Editing

1960 Films, Charles Bronson, Eli Wallach, Horst Buchholz, James Coburn, John Sturges, Robert Vaughn, Steve McQueen, Western, Yul Brynner

The Magnificent Seven-1960

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The Magnificent Seven-1960

Director John Sturges

Starring Yul Brynner, Steve McQueen

Scott’s Review #961

Reviewed November 22, 2019

Grade: B-

The Magnificent Seven (1960) is a Western in the classic sense that will satisfy fans of the genre. It features Hollywood stars of the day in heroic roles that give an aura of nationalism and conservative Americana.

Other than an outstanding musical score, a pleasant romance, and some male bonding, the film feels quite dated, with racial overtones that probably were not as irritating in the 1960s as they are now.

The film is a remake of the 1954 Japanese film Seven Samurai.

The bullied residents of a small Mexican village decide to hire seven American gunslingers to defeat a gang of bandits led by Calvera (Eli Wallach), who terrorizes the villagers regularly.

The Gunslingers are led by Chris Adams (Yul Brynner) and feature Vin (Steve McQueen), Bernardo (Charles Bronson), Lee (Robert Vaughn), Harry (Brad Dexter), Britt (James Coburn), and Chico (Horst Buchholz). Each is distinctive in some way- Lee is a veteran while Vin is a drifter, and so on.

The musical score is to be praised for its high energy and adventurous timing, especially during key scenes.

The introduction of the seven gunslingers is fun and popular for the Western genre, especially in television series of the time. This was a treat for audiences because most cast members were handsome, leading men.

The music also infuses the film with charisma and is perfect for the genre.

A romance between the hot-blooded Chico and the gorgeous Mexican girl Petra also works. An unlikely pairing, the couple has resounding chemistry and a West Side Story-style connection. Not supposed to be attracted to one another or hardly soul mates, the two blessedly share a happily-ever-after roll-up as the entire film does.

Westerns in the 1960s were meant to be crowd-pleasing and not especially daring. Chico and Petra are a nice addition and provide a bit of diversity.

Brynner and McQueen’s swagger is filled with machismo that might be annoying in a different film, but it works in The Magnificent Seven. They both look great, are clearly in their prime, and are well suited for a feature meant to satisfy the tastes of men and make the women swoon.

They prance around on their horses, looking serious, calm, and confident. However, the film’s target demographic is men and not teenage girls.

The over-arching story is irritating. The viewer is supposed to believe that the Mexican men are so incompetent that they do not even know how to shoot a gun or how to defend themselves.

This seems to be a gimmick and a pro-American stance more than a reality. The gunslingers swoop in and take complete control, showing the Mexicans how real men fight. It’s silly and trite and a prominent plot device.

It isn’t very kind, but standard for the genre.

The film meanders, and the viewer becomes restless in the middle because of the thirst for the inevitable climactic finale. Finally, we are treated to the battle between good and evil, where much blood is spilled, and even a few gunslingers are slain.

Laughable is how the characters die on cue but still look great while dying. The finale is marginally satisfying but predictable in its outcome.

Made when the Western was a popular genre and a box office success, decades later, the film feels dated and unnecessary.

Featuring big stars of the day, this is not surprising, and better genre films with more grit were soon to be on the way, think The Wild Bunch (1967), and are superior to The Magnificent Seven (1960).

Oscar Nominations: Best Music Score of a Dramatic or Comedy Picture

1965 Films, Charles Bronson, Drama, Elizabeth Taylor, Eva Marie Saint, Richard Burton, Robert Webber, Romantic Drama, Vincente Minnelli

The Sandpiper-1965

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The Sandpiper-1965

Director Vincente Minnelli

Starring Richard Burton, Elizabeth Taylor, Eva Marie Saint

Scott’s Review #897

Reviewed May 12, 2019

Grade: B+

The Sandpiper (1965) is a film that stars Elizabeth Taylor and Richard Burton, released at the very height of their fame.

It capitalized on their notoriety as one of the world’s most famous couples and their well-known romantic tribulations. Although they portrayed adulterous lovers, they were married shortly before filming began.

The film’s theme of adultery closely mirrored their own lives at the time, as each very publicly conducted an affair with each other while married to spouses.

The film is a lavish and sweeping production. It is one of the few major studio pictures ever filmed in Big Sur, and the story is expressly set there.

Big Sur is a rugged and mountainous section of the Central Coast of California between where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. It is frequently praised for its dramatic scenery and is the perfect location for a film with romance.

The Sandpiper (1965) is a romantic drama featuring the two stars’ chemistry. It is a pure case of art mimicking real life, at least in some way. Watching the actors work off one another is fascinating and wonderful. It makes me wonder what life would have been like on the set amidst the dreamlike and steamy locale and the fresh romance.

The story is not dynamic but quite theatrical, the actors being the main reason for watching.

Taylor plays Laura Reynolds, a bohemian, free-spirited single mother who lives in Big Sur, California, with her young son, Danny. Laura makes a living as an artist while homeschooling her son, who has gotten into trouble with the law.

When Danny is sent to an Episcopal boarding school, Laura meets the headmaster, Dr. Edward Hewitt (Burton). The duo falls madly in love despite Edward marrying teacher Claire (Eva Marie Saint).

The melodrama only escalates as those close to the pair catch on to their infidelity.

The gorgeous locale of Big Sur is second to none and exudes romance and sexual tension with the crashing waves against the mountainous terrain, symbolic of a passionate love affair. As the characters capitulate to each other, the lavish weather only infuses the titillating experience.

Taylor is lovely to look at throughout the film, and the erotic nude chest of the character plays a significant role. I wondered if the inclusion had the desired effect or resulted in unintended humor, as the endowed sculpture is quite busty.

The film belongs to Taylor and Burton, but the supporting cast deserves mention for creating robust characters that add flavor.

Eva Marie Saint plays the amiable wife, distraught by her husband’s infidelity but later coming to an understanding. Charles Bronson plays Cos Erickson, Laura’s protective friend, who despises Edward’s hypocrisy.

Finally, Robert Webber is effective as Ward Hendricks, a former beau of Laura’s, eager for another chance with the violet-eyed bombshell.

The film’s title represents a sandpiper with a broken wing that Laura nurses as Edward looks on. The bird lives in her home until healed and then flies free, though it returns occasionally.

This sandpiper is a central symbol in the movie, illustrating the themes of growth and freedom. Its sweetness is appropriate for the love story between Laura and Edward.

The Sandpiper is an entertaining film but not a great one. It suffers from mediocre writing and cliched storytelling but is a vehicle for Taylor and Burton.

The fascination is watching the actors, not for a great cinematic experience; the film is not very well remembered but for fans of the supercouple.

The film was made one year before the dreary yet brilliant Who’s Afraid of Virginia Woolf? (1966) starring the same husband and wife duo as does The Sandpiper (1965).

Laura and Edward are worlds apart from George and Martha, and when watched in close sequence, one can marvel at the acting chops of each star.

The film won the Academy Award for Best Original Song for the sentimental “The Shadow of Your Smile.”

Oscar Nominations: 1 win-Best Song-“The Shadow of Your Smile” (won)