Posts Tagged ‘Death Wish’

Charles Winecoff

Cultural Kleptos: How the Left Hijacks Art (and Everything Else) for the Good of Mankind

by Charles Winecoff

Kids love movies about people who tell lies – because they’re such naughty, little fibbers themselves.  During my formative years, it seemed like the same two films were on TV everyday when I came home from school – to remind me of the dangers of mendacity.  Perhaps it was a portent of things to come.


William Wyler’s “The Children’s Hour” (1961)

One was Weird Woman (1944), a neglected camp classic that was part of Universal’s low-budget Inner Sanctum series - about a scorned librarian (scream queen Evelyn Ankers) who seeks revenge on her ex- (Lon Chaney Jr.) by spreading gossip about his new wife (Anne Gwynne), an all-American voodoo princess he met on a South Seas expedition (don’t ask).

After several people inadvertently die as a result of Ankers’s aspersions, Chaney and gang steal a move straight out of the Democratic playbook - they devise an elaborate, fear-mongering ruse to guilt her into submission (and make her confess).  Here’s a clip of Ankers being browbeaten – with prophecies of gloom and doom – by little-known B-actress Elizabeth Russell: (more…)

John Nolte

Top 5: Revengers

by John Nolte

A kung-fu flick with fancy wire work is still a kung-fu flick and a revenge flick with CGI is still a revenger . Some may confuse “Wolverine” with a superhero film, but make no mistake, it’s a revenger of the best kind: a B-level plot with A-level action — all meat and potatoes without a vegetable anywhere in sight.

This is one of my favorite genres, especially when it comes to the smaller, lesser known – or better yet – less respected members of this family. Sure, there’s “Star Trek II,” “Once Upon a Time in the West,” “The Sting,” “Man on Fire,” and both “Kill Bill” films – love ‘em all, and so do you, but here are five you may have missed that are even more satisfying than their better known cousins.

 

1. Death Wish II (1982) – Michael Winner’s first “Death Wish” (1974) is often mistaken as a revenge film when it’s really a vigilante film. For we purists that distinction matters. The original may show up on all kinds of Top 10 Revenge Film lists but at no time does Bronson’s Paul Kersey look for the thugs who murdered his wife and raped his daughter. What he does do is take it to the streets as an avenging angel to overcome his own sense of helplessness. Don’t get me wrong, it’s great because punks get blown away and liberal critics howl, but a revenger it is not. (more…)

John Nolte

TCM Pick O’ The Day: Saturday, January 24th

by John Nolte

6:45am PST – Big Heat, The (1953) – A police detective whose wife was killed by the mob teams with a scarred gangster’s moll to bring down a powerful gangster. Cast: Glenn Ford, Gloria Grahame, Jocelyn Brando, Alexander Scourby Dir: Fritz Lang BW-90 mins, TV-14

There’s nothing quite like a Glenn Ford slow burn. Watching Ford’s nice guy characters take it and take it some more until they give it back with compound interest is one of the delights of Ford’s under-appreciated work. My favorite of these is “The Violent Men,” a 1955 Western that pits mild-mannered, square-shouldered Ford against land grabbers Edward G. Robinson and Barbara Stanwyck.  It’s “Death Wish” on a horse. (more…)

S.T. Karnick

Celebrating the 35th Anniversary of ‘Death Wish’

by S.T. Karnick

American Movie Classics is marking the 35th anniversary of the release of Death Wish, the controversial and highly influential 1974 film featuring Charles Bronson as a liberal architect in New York City who becomes a vigilante after a group of thugs murder his wife and rape his daughter.

The film was highly successful with audiences, making Bronson a big star and inspiring several sequels. Critics hated it.

Both reactions were caused by the same thing: the film’s uncompromising truthfulness. Death Wish marked the death of liberal illusions about crime and punishment: the idea that crime is caused by disadvantageous social environments and that the solution is to pour even more taxpayer money into bad neighborhoods in an attempt to buy submission from the poorer elements of society.

Death Wish showed that process to be an absurd sham. The film, based on a novel by Brian Garfield, clearly showed that giving in to such political extortion was making social conditions worse and exacerbating the nation’s already terrible crime problem.

Death Wish and its sequels refused to sugarcoat the villainy of the criminals the architect Paul Kersey pursues, nor did it state that he was justified in what he was doing. It simply showed the characters doing what they were inclined to do, making their choices and following the consequences. Such truth was impossible for Pauline Kael, Roger Ebert, and other elitist critics of the time to stomach.

As direct and truthful as Death Wish is, it is not simplistic or political, despite the ravings of critics at the time. It is a story that was all too plausible, and the characterizations and situations were accurately and insightfully portrayed.

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