Angie Dickinson (Jessica, 1962) is the standout as the cold-blooded double-crossing femme fatale in this slick tale of a double heist. Sure, Lee Marvin (The Professionals, 1966) attracted the bulk of the critical attention as the no-nonsense hitman and John Cassavetes (Machine Gun McCain, 1969) attempts to steal the show as the dupe, but Dickinson walks away with it. Although he makes a vicious entrance, Marvin really only tops and tails the movie.
Violence wasn’t the marketable commodity it proved later in the decade, and this was initially made with television in mind, so it’s surprising how stunning the brutality remains today. In the opening sequence, set in a home for the blind, hitmen Charlie (Lee Marvin) and Lee (Clu Gulager) knock around a sightless receptionist before moving on to shooting at point-blank range their victim, ex-racing driver Johnny North (John Cassavettes). But when they get to thinking why they were paid way over the odds to shoot North, they discover he was involved in a million-dollar heist and before you can say flashback we tumble into the story of how gangster’s moll Sheila (Angie Dickinson) lured him into participating in the robbery organized by boyfriend Jack (Ronald Reagan).
There’s nothing particularly complicated about Jack’s plan – hijacking a mail truck on a remote road – but the movie takes its sweet time getting there, focusing on Johnny’s racetrack antics and on Sheila nudging Johnny into the illegal kind of pole position. She’s pretty convincing as the all het-up lover to the extent of persuading Johnny to double-cross Jack but her convictions only run one way – to whatever best suits herself.
Eventually, it appears as if the million bucks has disappeared into thin air. Jack presents himself as an honest businessman, but Sheila only holds to the party line for as long as it takes the hitmen to dangle her from a fourth-storey window. But gangsters are rarely as amenable or as dumb as the schmucks they snooker, so Jack is more than able to take care of himself and his property (counting the loot and Sheila in that category).
There might be twists a-plenty but the main narrative thrust is which way will Sheila spin? Was she ever even in love with Johnny? Or having snared Johnny and then managed to convince him to double-cross Jack did she plan to run off with the money herself? Or was she going to double-cross him all along once his usefulness was over?
And even if her heart is in the right place, then that’s plain tragic, stuck with the lout, unable to break free, perhaps playing all the alpha males off against each other her only hope of maintaining her fine lifestyle while not ending up another casualty.
A surprising chunk of time is spent on the racecourse, not just building up the romance and endorsing Johnny’s driving skills, and as well as the tension of a specific race – and the possibility that too much loving could fatally damage the driver’s track ambitions – you are kept in some kind of narrative limbo as you keep wondering when the heck the killers are going to re-enter the equation.
Don (here credited as Donald) Siegel (Coogan’s Bluff, 1968) directs with considerable aplomb, especially as this carries a television-movie-sized budget and that he hadn’t had a stab at a decent picture since making his initial mark with Invasion of the Body Snatchers (1956). From the iconic opening shot of a pair of dark sunglasses to the sad greed-soaked finale, Siegel’s brilliant use of sound and movement plays in stark contrast to moments of stillness and silence. Throw in aerial tracking sequences, realistic race scenes, and one bold shot of a handgun being pointed at the audience (a similar shot in his Dirty Harry, 1971, ruffled more feathers and generated more critical note).
But the director’s cleverest ploy is to introduce the hitman, then dive elsewhere, leaving audiences begging for more. So it’s just as well that Angie Dickinson delivers in spades. You need to believe she could be as conniving as she is seductive for the entire tale to work. She is the linchpin far more than Lee Marvin.
And that’s to take nothing away from his performance, a far cry from the over-the-top villains of The Commancheros (1961) and The Man Who Shot Liberty Valance (1962), setting up the template for the later quiet-spoken thug of Point Blank (1967).
As highly watchable as this is, it wasn’t a career breakout for any concerned. Lee Marvin was just a supporting actor on Ship of Fools (1965) and far from first choice for Cat Ballou (1965), the movie that did make his name. Don Siegel wasn’t offered another movie for four years. Angie Dickinson tumbled down the credits, reduced to second female lead in The Art of Love (1965) and working in television or in movies as a supporting actor until the low-budget The Last Challenge/Pistolero of Red River (1967).
Ronald Reagan bowed out of the movies after this. Clu Gulager, who had a running role in The Virginian (1963-1968) only made three movies in the next seven years.
Gene Coon (Journey to Shiloh, 1968) adapted the short story by Ernest Hemingway which when previously filmed in 1946 marked the debut of Burt Lancaster with the sultry Ava Gardner as the femme fatale.
Striking, tense, and a must for fans of Dickinson, Marvin and Siegel.
The Magnificent 60s 