Category Archives: Hollywood

CYNTL (Cars You Need To Love!)- Episode 1: The Ferrari Mondial

It’s been a while since I’ve chimed in at MFL. Work obligations got the better of me, but now I’m back and I’d finally like to put forth the first installment on a series of underrated cars – magnificent machines that won’t (necessarily) break the bank, and hold their own with the best in terms of style, performance, or at least my opinion. The idea with this series is to put forward vehicles that are often overlooked for any variety of reasons, be it ubiquity, long held prejudice, or just generally passed over for one reason or another, but are actually some truly great cars. It’s called Cars You Need To Love. For the first installment I’ve chosen my personal favourite in the category of wrongly maligned and ignored autos. So without further ado, allow me to (re)present….

The Ferrari Mondial

History

The Ferrari Mondial was introduced as a coupe in 1980, replacing the “Dino” 308GT/4 as the new 2+2 GT car in the line-up. The GT/4, a truly great car in it’s own right, was a bit of an odd bird for Ferrari. It was one of two Ferrari’s, along with the 206/246 GT series, that didn’t technically start out as Ferrari’s. They were built under the Dino marquee as more affordable, user friendly machines to broaden Ferrari’s consumer base throughout the late 60’s and 70’s. When the 246 series ceased production in 1974, the 4 seater 308 GT/4 was the sole “Dino” left on the market. But that didn’t last long. By 1976, the 308GT/4 had been re-branded as a Ferrari. Turns out that consumers all knew they were buying a Ferrari, and that was part of the issue. The cars were made by Ferrari and the engines said Ferrari, so it seems consumers felt the badges on the car should say Ferrari as well, and that anything less was a bit of a disappointment. Sales reflected that thinking, at least in the USA. I know Dino owners who’ve spent many hours over the years explaining to everyone from first dates to fellow car nuts that their Dino’s were in fact Ferrari’s (now an accepted fact). Additionally, the 308 GT/4 was a blip in Ferrari’s more or less strict allegiance to design house Pininfarina, with the job of the GT/4 having been given to competing house Bertone. Bertone delivered a wedge shaped car totally devoid of the rolling elegant curves that typified Pininfarina’s designs, and that also had Ferrari fans squawking at the time. When the time came for a successor to the 308 GT/4, the job went to Pininfarina.

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A young man checking out a Dino 308 GT/4 in the 70’s ^

So it was that the Mondial appeared in 1980. The reaction was, to say the least, mixed. Pininfarina delivered a car that had some of the curves restored, but not all. The car lacked the arched roof and fenders of other Ferrari’s of the time. It also integrated the “cheese grater” air intake scoops on the side of the car, which were very 80’s to say the least. Additionally, being a mid-engined 4 seater, the car was elongated on the rear end, or perhaps shorter on the front end, creating an odd sense of proportional aesthetics that divided opinion. But in truth, all Ferrari’s with 4 seats have an uphill battle to climb. It seems to be the general consensus that Ferrari’s are NOT meant to be family friendly cars, but rather lean and mean 2 seaters that look sexy and go fast. At the time, Ferrari was offering the 308 GTB or GTS and the Berlinetta Boxer, two cars that certainly felt like they fell into that camp, as well as the stately 400i, a powerful but decidedly plush gentleman’s V12 2+2 touring car. The Mondial sort of fell in between the two camps, and people weren’t sure how to respond to it. Do we treat it as a really sporty GT or a sports car with a backseat? To further muddy the waters, some of the magazines got “not quite ready for prime time” cars to test drive. This resulted in some unflattering reviews that have stuck with the Mondial to this day. That’s a fair amount of baggage, so let’s unpack it…

Continue reading →

The James Bond Books by Ian Fleming — Casino Royale

We’ve all seen every James Bond movie multiple times and have our own firm opinion on who is the best Bond — Connery? Moore? Craig? Brosnan?? But how many have read the original Ian Fleming novels? Well, if you’re a true Bond aficionado you really should check them out. And if you’re looking for enjoyable, action-packed summer reading it’ll be a win-win. While the films jump off to an entirely more fantastical level and become their own distinctly grandiose vision of 007, the stripped-down genesis of the Bond phenomenon is in the books. There isn’t close to the gadgetry in Fleming’s original conception, although there are some impressively explosive high-concept climaxes, and the bon mots are a little more subtle. Bond himself tends to be more grim, fallible and vulnerable and less of an glibly unstoppable killing machine than in the films. He comes across as a diligent, well-trained espionage professional with above average self-defense skills and an expert with firearms, a top agent with a sharp, opportunistic mind and a cold reserve covering up signs of doubt and melancholia. It’s a definite key to Daniel Craig’s success that his Bond hews more closely to Fleiming’s original dour conception.

Ian Fleming’s own early drawing of Bond (pic from Wikipedia)

The first novel in Fleming’s massively successful opus is the notorious Casino Royale. I say notorious primarily because the film rights were tangled up for so long that it was the only Bond novel not to make it to the big screen… in recognizable form — the very poor 1967 Woody Allen-David Niven parody shares only the name. It took more than half a century for it to be properly adapted for the cinema via 2006’s explosive blockbuster, Craig’s excellent debut and a film many Bond fans consider one of the best in the franchise. Coming as it did after the ever more elaborate and bloated Brosnan films (although one could see some darker foreshadowing in his last, Die Another Day, where Bond is subjected to harsh torture at the hands of the North Koreans), it was no accident that finally having secured the rights to Fleming’s elusive first work, Broccoli & Co.’s franchise reboot would also try to stay true to the elements that made the start of the Bond story so special. But Casino Royale was also notorious when it was published in 1953 for its violence and sexual content, as well as the very frank and graphic way Fleming approached both issues, with many critics lining up to deride it as pornographic garbage. More than 60 years on it’s Fleming who has the last laugh because his debut novel still holds up very well.

In Casino Royale the novel we meet Bond for the first time, a WWII naval veteran (presumably an ex-commando) and now an agent in England’s Secret Service with a Double-0 classification, which, as we all know, is a license to kill on behalf of the British government. Continue reading →

Documentary view — Steve McQueen: The Man & Le Mans

(This article was co-written with tomvox1, who helped fill in the biographical blanks of McQueen’s Hollywood career)

Legendary screen icon Steve McQueen was not only one of his generation’s most interesting and successful actors but he was also a serious motorsports addict. An accomplished racer on both two wheels and four, McQueen began spending lavishly on racing machines just as soon as he started making money as an actor after his discharge from the Marines, where he had even attempted to soup up his squad’s tank. Tearing around Greenwich Village in a wire-spoked 1950s MG, he graduated to ever more exotic fare upon moving to California and hitting the big time with his starring role on the Western TV series, Wanted: Dead or Alive. As well as means, McQueen had exquisite automotive taste and would come to be identified with some of the most remarkable cars of the second half of the 20th Century: the 1958 Porsche Speedster, the stunning Jaguar XK-SS, the 1963 Ferrari 250 Lusso and, perhaps most famously, his personal gunmetal gray 1969 Porsche 911S and the Highland Green ’68 Mustang GT fastback from Bullitt.

Throughout the 1960s, running parallel to his rise as a Hollywood superstar, McQueen honed his craft as an expert racer. While truly gifted on a dirt bike, the King of Cool worked hard to become one of the top amateur sports car drivers in the US. In fact, despite being hampered by a broken foot in a cast, McQueen and co-driver Peter Revson drove their Porsche 908 Spyder prototype to an impressive second overall at the 12 Hours of Sebring in 1970, and first in the P2 class. After a gritty and inspired run, McQueen and Revson only missed out on the overall win when Ferrari drafted the great Mario Andretti into their second car as the laps wound down. It was the pinnacle of McQueen’s racing career but it was almost incidental to the real reason for purchasing the 908 in the first place: he was bound and determined to make the greatest racing movie of all time.

And that’s where the excellent documentary, Steve McQueen: The Man and Le Mans, picks up the story. In exhaustively researched detail, the film, a 2015 Cannes official selection, delves into how McQueen put the full force of his stardom and clout behind making his racing epic for good and for ill. Grabbing hold of a project originally titled “Day of the Champion” but now renamed simply “Le Mans,” his vision was to capture as realistically as possible the thrills he himself was experiencing in the cockpit of a high performance race car. And as the title now suggested, the indispensable backdrop for all of the action would be the greatest race of them all, the world famous 24 Hours of Le Mans. With a cast full of real-life professional road racers and innovative filming techniques, including converting the Sebring Porsche 908 into a 150 mph camera car, the aim was to mix actual race footage with realistic recreations executed at speed by top pros along with McQueen driving a Gulf-liveried Porsche 917 as the movie’s protagonist, Michael Delaney.

But despite the dedication and advanced technology brought to bear for the driving sequences and McQueen’s personal desire to eclipse John Frakenheimer’s 1966 Formula 1 epic, Grand Prix, as the the greatest racing movie of all time, production of Le Mans was star crossed from the get-go. Continue reading →

Gorgeous Lady of the Week — Rebecca Ferguson

In 2015’s surprisingly good installment of the action adventure evergreen, Mission: Impossible — Rogue Nation, Rebecca Ferguson didn’t just hold her own with the franchise’s superstar, Tom Cruise. She proved to be his co-equal, which is no mean feat for any actress. The 32-year-old Anglo-Swedish import’s memorable portrayal of Ilsa Faust, a morally ambiguous rogue MI6 agent, is every bit the match for Cruise’s Ethan Hunt.

A striking beauty with remarkable martial arts, weapons and vehicle handling abilities, it is Faust’s mental brilliance that truly makes her such a confounding and alluring opponent for the Mission: Impossible team. And with a stunning choice of apparel for an opera assassination showing off her feline grace and wonderfully muscular physique, Ms. Ferguson certainly made a profoundly favorable impression on many a movie goer.

Born in Stockholm to a Swedish father & British mother, Rebecca began modeling in her teens and had a breakout success in the Swedish soap, Nya tider, at the tender age of 17. This led to more TV and film work in Scandinavia until she came to broader attention with her titular role in the BBC’s The White Queen. While the historical drama failed to garner a huge audience, Rebecca’s portrayal of Elizabeth Woodville, scheming consort of King Edward IV during the War of the Roses, received high marks, including a Golden Globe award for best actress in a miniseries.

In 2014 she had a good little role in the Dwayne “The Rock” Johnson vehicle, Hercules, and had another miniseries lead in Lifetime’s Biblical drama, The Red Tent, where she played Dinah, daughter of Jacob and brother to Joseph, alongside Minnie Driver & Deborah Winger.

Then came her standout work in Rogue Nation and the good news that Ms. Ferguson’s formidable Ilsa Faust should be staying on for the sequel, M:I 6, when that ramps up. With a number of other projects in post-production, as well as her own Tango studio to help keep her in nimble and muscular good shape, the multi-national, multi-talented Ms. Ferguson is primed for even more and better work. And with a winning combination of natural beauty and physical grace, she’s also likely to keep on making the kinds of impressions that only a very few talented and appealing actresses seem able to manage on a regular basis. It should be interesting to watch where Rebecca Ferguson goes from here. Our guess is it’ll be pretty far.

Gorgeous Lady of the Week — Léa Seydoux

It’s fairly obvious that when a new Bond Girl debuts she is going to be a stunner. And in 2015’s Spectre, the ravishing Léa Seydoux most definitely lived up to the hype. But her Dr. Madeleine Swann is also tough and resourceful enough to be a match for Daniel Craig’s James Bond. And not just in the bedroom. In fact, Bond would never extract himself from his various life-threatening predicaments without Dr. Swann’s assistance taking on the title’s ultra-deadly criminal organization. And if Spectre turned the stunning Ms. Seydoux into an overnight pop culture phenomenon, the truth is that the 30-year-old French actress has been busy earning her place in the spotlight for several years now.

Born in Paris to well-off and media-connected parents, Léa origially wanted to be an opera singer and did not start to pursue acting until her late teens. After some work modeling and appearing in short films, she broke through with 2008’s The Beautiful Person, which garnered her awards for best upcoming actress at Cannes and at the Césars. From there she was off and running, as the film world took notice of not just her natural peaches-and-cream, blue-eyed Gallic beauty but also her impressive acting chops and emotional daring.

Ms. Seydoux had small roles in big pictures, Tarrantino’s Inglorious Basterds (2009) and Ridley Scott’s Robin Hood (2010). Then in 2011 Woody Allen picked her out for a plum role in his excellent Midnight In Paris and she landed a lead role in the latest installment of the Tom Cruise action blockbuster franchise, Mission: Impossible — Ghost Protocol.

She was back working in France for two big critical successes, as the servant girl witnessing Marie Antoinette’s last days in Farewell, My Queen and the controversially erotic art house smash, Blue Is the Warmest Color.

And now she’s won the double-edged immortality that comes with being a Bond Girl. But Léa Seydoux’s steel-wrapped-in-silk portrayal of Madeleine Swann may be the most formidable member of that illustrious club since Honor Blackman’s Pussy Galore… and without having to be stuck with a campy name to boot.

It’s only fitting that she and Craig walk off into the sunset to close out this excellent era of the Bond saga. But with her wonderful abilities as an actress and a face that the camera loves and is built to melt hearts, there’s no way we’ve seen the last of Ms. Seydoux. Which is surely a good thing because we’re looking forward to her future career being as impressive and exciting as her astonishing start.

Classic Movie Watch — Battleground (1949)

It is sorely tempting to recommend Battleground as a Holiday movie because so much of the action takes place around Christmastime. But since it’s an archetypal World War II film I figured I better just include it along with the other classic movies we talk about around here. Still, there is something about watching it during the Holiday Season that makes you thankful that such brave soldiers stepped up to the grueling challenge of defeating the monstrosity that was Nazi Germany those many years ago. And while this 1949 movie is a long way from the justifiably gung ho, sentimental propaganda that was a Hollywood mainstay during the actual war years, I’d still be willing to bet that you might find yourself tearing up at points thinking about what these young men had to go through in order to prevail against such steep odds. Such is the excellence and impact of the terrifically well made Battleground even to this day.

The film recounts the famous predicament of a very banged up and replacement-heavy Army VIII Corps, including the 101st Airborne division, when they were cut off and encircled deep in the Ardennes Forest by the Third Reich’s last desperate offensive push, which became known as the Battle of the Bulge. Familiar to anyone who has watched the excellent HBO miniseries Band of Brothers, this was actually a cock up by the Allied Forces by somewhat letting down their guard after the initial hard-fought success of D-Day and the semi-setback of Market Garden. The massive and perfectly orchestrated German attack on overly stretched lines took the Americans and the Allies completely by surprise and it was only after very hurried reinforcement, enduring heavy casualties and the clearing of some of the worst winter weather in years that the combination of Patton’s 3rd Army coming up from the south and US air power could be successfully deployed to bring relief to the soldiers trapped in the Ardennes. In all, the Battle of the Bulge lasted from December 14, 1944 to January 25, 1945 but the key breakthrough by Patton’s forward relief force arrived the day after Christmas, the true beginning of the end of the battle. A largely German-American affair, each side suffered massive casualties but ultimately it was the outnumbered Americans who thwarted the surprise German advance, eventually breaking the back of the enemy incursion and essentially dooming the potential for the Third Reich to sue for peace on any terms other than complete surrender.

The excellent ensemble cast features the great character actor James Whitmore as the rock-like Platoon Sargent Kinnie, Van Johnson (usually a song & dance man) as the very funny and reluctantly heroic scrounger PFC Holley and a young and very good Ricardo Montalban as Los Angelino “Johnny” Roderigues, among other quality performances. Continue reading →

Gorgeous Lady of the Week — Annabelle Wallis

There is a moment in the enjoyably pulpy biographical BBC miniseries, Fleming, when the actress portraying Muriel Wright, Ian Fleming’s wartime flame and proto-Bond girl, walks away from the camera in her full-body tan leather motorcycle courier’s suit. She looks over her shoulder with a develish grin and a flip of her blond locks as if to say a cheerfully insouciant goodbye to her none-too-loyal lover. It’s in that moment that the viewer realizes he’s watching an actresss destined for big things. That actress is the stunning Annabelle Wallis.

The 31-year-old Briton was born in Oxford but spent her formidable years abroad in Portugal, where she became fluent not only in Portuguese but also French and Spanish. A niece of the legendary Richard Harris and cousin to the talented Jared Harris of Mad Men fame, it seems only fitting that Annabelle joined the family business. After several small roles she broke through in Showtime’s The Tudors as Jane Seymour, third wife to Jonathan Rhys Myers’ Henry VIII.

From there she was in the regrettably short-lived retro swinging stewardess series, Pan Am, alongside fellow blonde bombshell Margot Robbie and the always excellent Christina Ricci. Then in 2014 she was the inspiration for the archetypal Bond girl in two memorable episodes of Fleming opposite the up-and-coming Dominic Cooper in the titular role. That year was good to her, as she was also a lead in the supernatural thriller Annabelle and back on TV making a big impression with a major role in BBC’s excellent gangster series, Peaky Blinders, as the complex Grace Burgess alongside Cillian Murphy’s fierce crime boss.

With several more features in pre- and post-production, as well as a highly publicized romance with Coldplay lead singer Chris Martin, Ms. Wallis is surely poised to keep her momentum going. And with such a diverse range of quality work already on her impressive resume can it be long before Hollywood sees what we see in the fair-haired lass and starts putting her in big time leading roles?

True, with an attractiveness based on beautiful but not perfect features and sly wit, Annabelle is not the airbrushed, cookie cutter ingenue that makes her the “safe” pick for a leading lady. But with her impressive acting chops and that undefinable undercurrent of intrigue that she brings to every role, not to mention that fleeting, fetching smile, it seems to us that she’s the cure for the ordinary actress. We’d certainly take her in period costume or full length leather jump suit six days a week and twice on Sundays.

Classic Movie Watch — The Dirty Dozen (1967)

In a case of supremely ironic timing, Robert Aldrich’s The Dirty Dozen was released in 1967 at the height of the “Summer of Love.” As one of the toughest, nastiest and most fatalistic classic war movies, there is not a lot of love in the Dirty Dozen. But there is a killer plot, action galore and a very cool, badass ensemble cast of male stars who make the whole thing tick over like clockwork. Sharing the hard bitten cynicism and mordant humor that came to dominate the best 1960s WWII films like The Bridge At Remagen, Kelly’s Heroes and Where Eagles Dare, Dirty Dozen reflects both the experiences of the actual combat veterans who contributed to the making of the film, as well as the creeping disillusionment with the nation’s quickly souring military involvement in Vietnam. After the recent Spielbergian gloss given to World War II in the violent but heroic Saving Private Ryan and the excellent and idealistic Band of Brothers, where the action is doubtless brutal but the characters themselves are invariably heroic, one wonders whether today’s moviegoing public would be ready to accept a deranged group of criminal misfits like “The Dozen” as their heroes. But the audiences of the late 1960s made the film a colossal hit, so maybe that says something about the differing need for hero worship between that generation versus ours.

Loosely based on actual events, the plot of The Dirty Dozen unfolds in classic three-act action-adventure epic style: Picking the Men, Training the Men and the Mission. Only in this case the “elite force” being assembled is drawn from a group of convicts in military lockup facing either death sentences or decades-long prison time. And the mission is a suicidal attack on a German staff officer “rest & relaxation” chateau behind enemy lines in pre-D-Day Normandy. Drawing the unenviable task of assembling these misfits into a cohesive commando unit is maverick Major John Reisman, played by the inimitable Lee Marvin. If The Big Heat is Marvin’s apotheosis as the ultra-heavy villain, The Dirty Dozen reflects the archetype of Marvin’s remarkable second act as a lead actor in big films: still the hard man capable of extreme violence but in the end possessed of an individual code of honor that turns him from bad guy into ambiguous hero. As it would again later in Sam Fuller’s excellent The Big Red One, Marvin’s real life combat service as a Marine in the Pacific Theater, were he saw fierce action and was badly wounded, informs his performance as the sardonic and relentless Major Reisman as he badgers, threatens and cajoles his convict team into a cohesive fighting unit. Like many great coaches and military leaders, Reisman’s genius is to realize that if he can get the group of men to hate him they will in turn bond with each other.

And what a group! Featuring some of the most macho and physically imposing 1960’s actors, as well as some bona fide rising stars, the convicts include Charles Bronson as an honorable German-speaking Polish American convicted of shooting his unit’s cowardly medic; football great Jim Brown as another decent guy wrongly convicted of murder in a case of self defense against a racist attack (this is actually the film that prompted Brown’s premature retirement from the NFL); the towering Clint Walker as a gentle giant with a fierce temper; Telly Savalas as a despicable and crazy Bible-spouting southern racist and woman hater; a young Donald Sutherland as a dim but mischievous private; and a sterling John Cassavetes as a Chicago gangster with a serious problem with authority. Cassavetes really shines among this esteemed company, seeming to channel the ghost of Humphrey Bogart as he proves the biggest obstacle to Reisman’s grand plan, resisting him at every turn through sarcasm and tooth-baring indolence. Continue reading →

Gorgeous Lady of the Week — Alicia Vikander

Rising star Alicia Vikander has the look. It’s not so much the look of a perfectly polished Hollywood ingenue. It’s more intangible, more a throwback to the intriguing attractiveness possessed by those international actresses who graced the films of Truffaut and Godard in the 1960s like Anna Kerina and Jeanne Moreau. Beautiful in a soulful way and possessed of deep waters rushing beneath a placid surface, the 27-year-old Swedish actress has poise and grace rarely seen in younger performers these days, perhaps as a result of her training as a dancer. With a raft of strong performances already under her belt, Ms. Vikander is still not quite a household name yet. But she’s about to be.

Born in Gothenburg and the daughter of an actress, Alicia spent her formative years training to be a ballerina at the Royal Swedish Ballet School. But injuries and a burning desire to act sent her on a different path in her late teens and she found success on the Swedish soap opera, Andra Avenyn, at the age of 20. Jumping off from there she made her critically praised film debut in the Swedish film Pure, garnering several prestigious European awards for that 2010 feature.

Ms. Vikander broke through in the English speaking world with her role as Kitty in 2012’s adaptation of the classic weepy, Anna Kerenina, which starred Keira Knightly and Jude Law. And after making such a big impact in that relatively small role she was off to the races. After more work in Europe, she featured in The Fifth Estate (2013), the Aussie Son of a Gun (2014) and the British independent film, Testament of Youth (2015). But the movie that really put her on the radar of the general theater-going audience was 2015’s Ex Machina, Alex Garland’s spine-tinglingly dystopian directorial debut. Her role as a highly evolved artificial intelligence in beguiling semi-human form was one of the more interesting female characters to come along in years. While the exceptionally strong writing obviously did a lot of the work for the cast, which includes the outstanding Oscar Isaac and Domhnall Gleason, Vikander’s sympathetic and unsettling work as a beautiful android pitted against humans in a life or death examination for her worthiness to exist is quite simply a tour de force. Visionary as it is, Ex Machina would not have been as great without the actress’s stunning portrayal.

Her breakthrough as Ava the Android officially cemented Alicia Vikander’s status as one of the hottest Swedish imports since Lena Olin. She starred in this summer’s big budget Man From U.N.C.L.E. and will appear in a slew of upcoming mainstream movies, such as Burnt with Bradley Cooper, Tulip Fever with Christoph Waltz, The Light Between the Oceans with Michael Fassbender, her now ex-boyfrirend, as well as an upcoming Bourne Identity sequel. Now that is a busy lady!

Projecting a tender vulnerability wrapped around a steel core and with hypnotic brown eyes that always seem to hold you in their gaze, Ms. Vikander is also blessed with the acting chops to go far. She could well be this generation’s Juliette Binoche and should be aided by having an even better command of English than the great French actress. Only time will tell, of course. But one thing’s for certain: Alicia Vikander is a compelling actress well worth watching, especially if she continues to do smaller, independent films and doesn’t get swallowed up by the Hollywood Borg. We’re looking forward to watching what should be a stellar career for years to come.

Classic movie watch — The Big Heat (1953)

If you’re looking for the precursor to Dirty Harry and a thousand other righteous vigilante cops in the cinema look no further than Fritz Lang‘s 1953 film noir masterpiece, The Big Heat. Starring the underrated Glenn Ford as crusading homicide detective Dave Bannion, The Big Heat unspools like an Eisenhower-era nightmare, peeling away the veneer of wholesomeness from a mid-sized metropolis to reveal the festering corruption beneath. With bracingly modern use of brutal violence, Heat is one of Lang’s top crime masterpieces in a career filled with them, and the film still retains its power to shock and disturb today. Like so much of the Austrian genius’ output, which includes genre-defining classics like Metropolis, M, Fury and Scarlet Street, the phrase “ahead of its time” sticks to the The Big Heat. No matter how many times you’ve viewed it, you’ll come away astonished at the remarkable moral distance the film has traveled from start to finish.

While investigating a colleague’s alleged suicide and after talking to the seemingly bereaved widow, Ford’s Detective Bannion is contacted by the dead man’s mistress who reveals that not only was he keeping her on the side but that he was living far beyond the means of a policeman’s salary. After returning to push for answers from the now chilly dead cop’s wife, Bannion is then told to back off by his lieutenant. But when the mistress is found murdered, her body covered with cigarette burns, and O’Bannion begins receiving threatening calls at his home, he goes to the house of the local organized crime figure and Mr. Big, Mike Laguna (played by legendary voice actor Alexander Scourby), to confront him. Laguna offers to buy Bannion off but the straight arrow cop will have none of it. Seeing that Bannion cannot be deterred by the usual methods, the mob plans to murder Bannion by rigging his car to blow up. But when his wife ends up turning the ignition instead and his department continues to stonewall him, Bannion resigns from the force to begin a one-man crusade against Laguna and his fellow “thieves”.

Chief among those accomplices is Laguna’s enforcer, Vince Stone. Played to vicious perfection by the great Lee Marvin, at the peak of his early career powers when he was one of the most badass “heavies” in the movies, Marvin’s Stone is a pure psychopath capable of truly terrifying acts of sudden violence, especially against women. Continue reading →

Man's Fine Life

The Return of the Well-Rounded Gentleman