One of my favorite Japanese directors is the talented Kinji Fukasaku. When I read about the Close-Up Blog-a-thon being held by Matt Zoller Seitz at The House Next Door today, many scenes from his movies started rushing through my head. Kinji Fukasaku often used close-ups in his films to convey mood and action, so I thought I’d share a fascinating moment from Fukasaku’s terrific crime film Blackmail Is My Life (aka Kyokatsu Koso Waga Jinsei, 1968).

In the following moments represented by the still shots below, a young thug visits an unusual adult club with his lover and pretends to be someone he is not. He is fully aware that any actions he takes while he is at the club will be filmed by some criminals hiding behind a one-way mirror. The criminals think the man is unaware of their cameras and they plan to blackmail him with the film they’re shooting. At first the man is a bit nervous about having a camera film his every move, but he soon starts to enjoy the idea of being watched while it’s happening.

Fukasaku films the entire thing using close-ups that zoom in closer and closer as the scene unfolds, and it adds an uncomfortable intimacy to the action taking place on screen. These moments in the film manage to be erotic, sleazy and even a bit humorous all at once, while showing very little bare skin. It also leaves the audience in the somewhat uncomfortable position of being voyeurs who are unknowingly being observed.

Kinji Fukasaku was a brilliant director and Blackmail is My Life is the work of a man who was fully aware of the power of his camera. Many of his films are filled with creative uses of the “close-up” and this is just one interesting example.

“This film is really in one sense about Lee Marvin. It’s about him as a character. He went out to the war and he was a sensitive 17 year-old boy and you know, he was brutalized and in a way he was expressing himself through violence. He was always trying to recapture his humanity that he felt he had lost and that’s really what the story is about. It’s about a man who comes back from the dead and tries to find his humanity.”
- Director John Boorman on Point Blank (DVD commentary)

After appearing in countless war films, westerns and crime dramas, Lee Marvin won his first Oscar in 1965 for Cat Ballou and followed it up with a starring role in the extremely successful movie The Dirty Dozen. Hollywood was impressed with Marvin’s success and they offered him complete creative control over his next film. That film would be the stylish 1967 Neo-noir crime thriller Point Blank.

The film was directed by the talented British filmmaker John Boorman who Marvin had met in London while filming The Dirty Dozen. Boorman approached Lee Marvin with a poorly adapted script of a pulp novel called The Hunter written by Richard Stark (pen name for Donald E. Westlake) and expressed interest in making a film with him. Marvin hated the original script, but he wanted to make the film with Boorman so the two men spent many long evenings in London working out the details and exploring creative concepts before finally plunging ahead with their proposal.

During this process Point Blank became a very personal project for Lee Marvin. He was involved in almost all aspects of the film including the movie’s development, story, staging, sound effects and stunts. Besides just making an entertaining movie, Marvin wanted to use various metaphors within the film to explore his deep-seated feelings about a career spent playing violent killers and a lifetime trying to come to terms with the horrible things he had experienced during WWII, where he had served as a sniper for the U.S. Marines.

In Point Blank Lee Marvin plays Walker, a reluctant criminal who stumbles into a bad situation and pays dearly for it. After being convinced to join in a criminal heist with an old friend and his wife that takes place in San Francisco at Alcatraz Prison, Walker is shot “point-blank” by his friend who wants the money and Walker’s wife all for himself. Walker seems to recover and decides to go after the $93,000 he is still owed from the job. As the film progresses we follow him on his quest to confront his would-be killer and recover his money while leaving a trail of dead and beaten bodies behind him. Of course there’s much more to this crime film once you start scratching at its stylish surface.

Lee Marvin has an incredible screen presence that can easily intimidate an audience with its animal intensity. In Point Blank he literally jumps off the screen at times, but some of the films most poignant moments are its quieter ones which critics rarely mention. Before Marvin is transformed into the angry gun carrying Walker who dominates most of Point Blank, he’s shown as a sweet love struck man, who romances his wife and seems willing to do anything to help out a friend. We also see him nervously contemplating his crimes before and after they take place. Walker might be tough and dangerous, but he’s also a thoughtful and sensitive guy with a big heart.

I think it’s clear that John Boorman and Lee Marvin wanted to present Walker as a man who was transformed by violence and disappointment. Much like the innocent 17-year-old Lee Marvin who naively went off to war and was deeply changed by what he experienced there, Marvin’s character in Point Blank is clearly not a naturally violent man, but he has no problem committing acts of violence once he has experienced it first hand. Marvin’s Walker rises from the dead as a sort of angel of vengeance in the film to pursue the money that’s owed to him, but this vengeance is tempered by Walker’s complicated inner life and throughout the course of Point Blank Lee Marvin’s character never actually kills anyone.

Walker beats a few men senseless and threatens them with violence, but he often acts more like an angel of mercy who has the ability to kill, but usually offers people his understanding instead. Thanks to Lee Marvin’s powerful screen presence these gentler aspects of his character in Point Blank are often overlooked by critics who see him as a merciless and destructive man, willing to do anything to get back the money that’s owed him.

As we follow Walker along on his violent odyssey the film often seems to veer off in abstract directions that follow no clear narrative structure, but there are plenty of visual and verbal clues that tell us a lot about the journey Marvin’s character is undertaking and his real goals. And what are these goals? If we take Boorman’s comments about the film at face value it’s clear that the money Walker is hunting for is actually a metaphor for his lost humanity, which seems forever trapped in a sort of prison of his own making. Like Lee Marvin himself, the character of Walker has been transformed by the violence and disappointment he has suffered in his life. Unfortunately he discovers throughout the course of the film that nothing, including the love of a beautiful woman and the destruction of his enemies, can return his innocence and restore his humanity. Walker can only accept his transformation and imprisonment, and learn to live with it.

Point Blank is an incredible looking film that uses bold color schemes and creative camera work in ways similar to Antonioni’s arthouse dramas Red Desert (1964) and Blowup (1966), as well as Seijun Suzuki’s Neo-noir crime thrillers Youth of the Beast (1964), Kanto Wanderer (1964) and Tokyo Drifter (1966). John Boorman has expressed that Antonioni’s films and classic noir inspired the overall look and feel of Point Blank, but I haven’t come across any indication that Boorman or Marvin were aware of Suzuki’s early films before making their movie. Much like Seijun Suzuki, as well as the French director Jean-Pierre Melville, John Boorman injects his crime film with an overall sense of malaise and turns Lee Marvin’s Walker into one of cinema’s greatest existential heroes alongside Jo Shishido’s Jo Mizuno in Youth of the Beast and Alain Delon’s Frank Costello in Le Samourai.

There is very little dialogue in Point Blank, but what is there seems extremely powerful and often very telling. Even Walker’s one word name tells the audience a lot about his character. One of the films most important moments comes towards the end when Walker finally confronts the man who seems to hold the keys to his fortune.

Brewster: You’re a very bad man, Walker, a very destructive man! Why do you run around doing things like this?
Walker: I want my money. I want my $93,000.
Brewster: $93,000? You threaten a financial structure like this for $93,000? No, Walker, I don’t believe you. What do you really want?
Walker: I - I really want my money.
Brewster: Well, I’m not going to give you any money and nobody else is. Don’t you understand that?
Walker: Who runs things?
Brewster: Carter and I run things. I run things.
Walker: What about Fairfax? Will he pay me?
Brewster: Fairfax is a man who signs checks.
Walker: No, cash.
Brewster: Fairfax isn’t going to give you anything. He’s finished. Fairfax is dead. He just doesn’t know it yet.

20 years ago today on August 29, 1987, Lee Marvin left this earth. Unfortunately like many young men who find themselves on bloody foreign battlefields far from home, a part of Lee Marvin had died many years before. Through countless roles as a ruthless killer and movie heavy, Marvin had expressed the violence that had eaten away at him in various creative ways. Point Blank was an accumulation of Marvin’s previous roles held up to a prism and projected back to the audience in a kaleidoscope of colors and action. Underlying that is the echoing silence that permeates Point Blank and seems to cut right to the very core of Lee Marvin’s character.

I personally think Point Blank is one of the greatest American films produced during the sixties, but it received a cold critical reception when it was originally released. American critics weren’t ready to see Lee Marvin as an existential hero and the film’s themes and creative ideas were too complex for many viewers who preferred to see Marvin in simpler action films like The Dirty Dozen. The movie has slowly gained a cult following over the years thanks to numerous theatrical re-releases in Europe and its DVD release, which allowedd critics of Point Blank the opportunity to re-examine the film. If you want to see a terrific American film and experience one of Lee Marvin’s best and most important performances, do yourself a favor and watch the brilliant Point Blank.

If you’d like to see more screen shots from the film please visit my Point Blank Gallery at Flickr.

You can also read a bit more about Lee Marvin and his film work with John Ford in a previous post I made earlier this year.

Point Blank is available on DVD from Warner Home Video.

Richard Harland Smith is commemorating the 20th anniversary of Lee Marvin’s death over at TCM’s Movie Moorlocks blog today with a Blog-a-thon. Since Lee Marvin is one of my favorite American actors I couldn’t resist contributing to his terrific tribute with some thoughts on Marvin’s pivotal role in Point Blank.

I recently discovered Mort Todd’s terrific website Go Sadistik which is devoted to the diabolikal super-kriminal Sadistik (also known as Kriminal, Kilink and Killing). The site is well worth a look if you enjoy sexy sixties era pulp-style crime thrillers as much as I do.

I first read about the Sadistik / Kriminal / Kilink films in Pete Tombs’ great book Mondo Macabro : Weird & Wonderful Cinema Around the World back in 1998 but they seemed impossible to find then. Thankfully that has changed in recent years with companies like Onar Films making the Turkish Kilink movies easily available.

The history of Sadistik is long, complicated and incredibly convoluted, but at the Go Sadistik site Mort Todd does a good job of explaining how the character of Sadistik went from being an Italian comic book anti-hero inspired by Diabolik and created by Max Bunker (pen name for the Italian artist Luciano Secchi) to being the star of his own films in Europe and Turkey. Besides information about the history of Sadistik and the various films, you can find detailed profiles of all the actors involved in the movies there and some eye-popping galleries featuring amazing cover art from the original photo story magazines.

Mort Todd is currently publishing a wonderful bi-lingual Sadistik tribute magazine with co-editor Roberto Barreiro called Killing Time that is filled with lots of great articles and info. The first issue is currently available as a PDF file which you can download for free right from the site and it’s really a must read! You’ll also find free download sample pages from the classic Sadistik photo novels that Mort Todd is translating and publishing in association with Comicfix.

Comicfix and Mort Todd are also helping to promote Italian director SS-Sunda’s documentary about the history of Sadistik called Diabolikal Super-Kriminal which is currently in production. They’ve recently released a nice looking trailer for the upcoming film that you can watch below.

Besides the Go Sadistik website, Mort Todd and director SS-Sunda both have blogs which I also recommend visiting if you’re like me and can’t get enough of Sadistik:

- Mort Todd’s The Mask of Death blog.
- SS-Sunda’s The King of Crime blog.

Many groovy old British television shows have been finding their way onto PAL DVD recently in the UK, but most of them are not available in the US. This is really unfortunate, because there were lots of great television programs produced in Britain during the sixties and seventies, but many of them are almost unheard of outside of the UK. Thanks to Image Entertainment, Americans are finally able to see the popular British crime and espionage series Jason King which ran on British television in 1971-72 and it’s well worth a look if you enjoy other British shows such as The Avengers, Secret Agent Man, The Prisoner, The Saint and The Persuaders.

The Jason King series was a spin-off from another good British series called Department S, which featured a team of detectives who were able to solve the most impossible crimes. For some reason American audiences are getting Jason King on DVD first and I have no idea if we’ll ever see a DVD release of the Department S show in the US, but at least American audiences can now enjoy the exploits of the international man of mystery known as Jason King.

The series features the talented British actor Peter Wyngarde as the suave, witty pulp novelist and detective Jason King, who smoks a pipe and wears tailored suits that would have made Brian Jones envious. He seems to own an endless amount of ascots and beautiful ladies are constantly charmed by him. In the series Jason King wrote crime novels that featured a fictional character called Mark Caine and when he wasn’t writing his trashy novels, he was helping Scotland Yard solve crimes. The “real” world of Jason King often mixed with the fictional world of Mark Caine, which led to some interesting plot twists and laughs.

The show is well written and very entertaining, and it often spoofs the various James Bond type of thrillers that it takes its inspiration from. The humorous elements help keep the show interesting and give Peter Wyngarde plenty of opportunities to have fun with his character Jason King. The series also features lots of beautiful British actresses from the period such as Hammer glamour queens Ingrid Pitt, Yutte Stensgaard and Stephanie Beacham, as well as the lovely Alexandra Bastedo. It might be hard for modern audiences to understand Jason King’s appeal now, but back in the early seventies his big hair, thick mustache and low-cut shirts were considered very sexy.

Peter Wyngarde is a fascinating actor with an interesting background. He was the son of an English diplomat and spent much of his childhood moving around the world. In 1941 he was left in the care of another family living in Shanghai just as the Japanese military took over the city. Following his capture, the young Wyngarde spent four years imprisoned in the Lung-Hai prison camp where he experienced extreme brutality until he was finally rescued by British soldiers.

While Wyngarde was in college he started acting on the stage and finally begun appearing in movies in the early sixties. He was in two of Britain’s best horror films early in his career (The Innocents, 1960 and Night of the Eagle, a.k.a. Burn Witch Burn, 1962), and then went on to have a very successful career in television. He had guest roles in many of the decade’s best television shows including The Avengers, The Saint, I Spy, The Champions and The Prisoner, where he played Number Two in the infamous “Checkmate” episode before he got a starring role as Jason King in Department S. Wyngarde’s popularity on the show led him to star in his own series simply called Jason King.

During this period Peter Wyngarde even recorded an album called When Sex Leers Its Inquisitive Head which was released in 1970. The album is a strange mix of psychedelic, lounge and folk songs that include Wyngarde’s unusual spoken word lyrics. One of the record’s most memorable tracks is called Rape, where Wyngarde casually explains what rape means in different languages and cultures in 1970. It also includes a song called The Hippie and The Skinhead where Wyngarde reads a letter written by two skinhead girls and then goes on to describe a beating that skinheads give a “queer, pilly, sexy Hippy” named Billy. It’s impossible to take the songs completely seriously, but it seems that many people did. RCA had expected Wyngarde to record some kind of pop record where he crooned sexy songs to his many adoring female fans at the time, but instead they got an extremely odd and experimental album that sounds very campy now, but actually does contain some interesting music. When Sex Leers Its Inquisitive Head caused such a ruckus that it was pulled from record stores after only a few weeks and disappeared into obscurity until it was reissued on CD in 2001.

When Jason King went off the air in 1972 Pete Wyngarde was one of Britain’s most popular actors, but unfortunately his fame was short-lived. In 1975 he was arrested and convicted for an act of “gross indecency” with a truck driver in the bathroom of a British bus station. Sadly his career never really recovered from that and he had a hard time finding work as an actor in Britain. After losing his celebrity status, Wyngarde began acting and directing at the English Theater in Vienna and appeared on German television. In 1980 he had a role in Mike Hodges’ Flash Gordon as Klytus and since then Wyngarde has acted in a few worthwhile television programs like Doctor Who (1984) and Hammer House of Mystery and Suspense (1986), but for the past 14 years he hasn’t seemed to have done much.

It’s impossible to measure the influence that Peter Wyngarde’s Jason King has had on popular British culture. Mike Myers has signaled out Jason King as one of the main influences for his popular Austin Powers films and Jason King has been the inspiration behind many interesting comic book characters including Fireball from Beano’s Bullet series, Jason Wyngarde from John Byrne’s hugely popular Uncanny X-Men series and Mr. Six from Grant Morrison’s brilliant, but brief comic book series The Invisibles.

American audiences now have a chance to enjoy the entertaining Jason King series for themselves with the release of the show on DVD last week. The new Image Entertainment DVD set is very bare-bones, but it includes all 26 episodes of the show without any extras. The picture quality is a little rough on some episodes, but considering that this is a British television series from 1971 shot on 16 mm film, I’m just happy to have access to it. Hopefully it will be successful enough to warrant the release of the Department S series in the future.

For more information about Jason King I highly recommend visiting Jason King’s Groovy Pad.

You can also check out some clips from the Jason King series on YouTube:
- The opening credits featuring the show’s great theme music
- A clip from the Jason King episode A Deadly Line in Digits

“This is a story about greed, love and violence, set in the steaming jungles and tropical cities of Latin America. It was written by a man who spent years of his life in the tropical hell of the worst prison on earth, where he learned the truth about greed and love and violence.”

I’ve been interested in seeing Popsy Pop (a.k.a. The Butterfly Affair) for a long time and I recently got the chance to after I came across a cheap DVD of the movie available from East West DVD. The quality of the East West DVD is awful, which should be obvious from my screen shots below, but I was happy that I finally got a chance to see the movie.

Popsy Pop (1971) is a heist crime/caper film made by the French director Jean Herman. Herman is responsible for one of my favorite heist films of all time (Adieu l’ami a.k.a. Honor Among Thieves) so I knew I’d probably enjoy Popsy Pop and I wasn’t wrong.

This fascinating film was scripted by Henri Charrière who also stars in the film. Popsy Pop is loosely based on his second book called Banco the Further Adventures of Papillon. If that title sounds familiar, it’s because Henri Charriere’s first book was the critically acclaimed Papillon, which was later made into an award winning film. Many people are aware of Henri Charrière thanks to the film version of Papillon that told the story of his long captivity in the penal colony of French Guiana as well as his later imprisonment and eventual escape from the notorious prison, Devil’s island.

The real Henri Charrière and Steve McQueen as Henri Charrière in Papillon
In the film version of Papillon the role of Henri “Papillon” Charrière is played wonderfully by Steve McQueen who was nominated for a Golden Globe thanks to his terrific performance in the movie. Popsy Pop is no Papillon, and no one was nominated for any awards after it was released, but it is a fun movie and fascinating to watch if you happen to be interested in the real Henri Charrière like myself.

Interestingly, Papillon (1973) was made after Popsy Pop (1971) which seems to have been almost completely ignored by most film critics at the time. This isn’t surprising since Popsy Pop will probably only appeal to a small audience of movie lovers like myself who enjoy unusual caper films shot in exotic locations with great soundtracks. If you’re looking for a solid well acted film with a coherent script, you should probably look elsewhere since Popsy Pop has very little to hold it together besides Claudia Cardinale’s fabulous wardrobe and wacky wigs.

Popsy Pop (Claudia Cardinale) meets Inspector Silva (Stanley Baker)
The talented Claudia Cardinale (The Leopard, Cartouche, Once Upon a Time in the West, Fitzcarraldo, etc.) plays the cute and sexy Popsy Pop, a smalltime celebrity who travels to the jungles of Venezuela to entertain locals at a shabby night spot. She arrives by boat carrying bags of heavy luggage as well as a copy of Lewis Carroll’s book Alice in Wonderland and a large porcelain doll she likes to call Alice. These strange Alice In Wonderland references almost appear meaningless at first, but soon unveil themselves. In some ways the book and doll are props to make Popsy seem more innocent than she really is, but as the film develops Popsy’s life begins to resemble a more darker version of Alice’s own adventures in Wonderland.

Tough guy Stanley Baker (The Guns of Navarone, Eva, Zulu, A Lizard in a Woman’s Skin , etc.) plays Inspector Silva who is keeping his eye on the local diamond fortune. He greets Popsy when she arrives in the steamy jungle and soon the heat between them both starts to rise. Inspector Silva falls for pretty Popsy fast and hard, which is somewhat understandable since his life in the jungle seems to have very little distractions and Popsy is most certainly an interesting distraction. Soon he is offering himself up as her personal escort and they quickly develop a loosely formed realtionship.

Popsy (Claudia Cardinale) performing her signature song
The blossoming romance between Popsy and Silva is soon overshadowed by the presence of Marco who’s played by Henri Charrière. Marco is planning a diamond heist along with a couple of unsavory thugs and the seemingly innocent Popsy. Henri Charrière’s character Marco is a career criminal who is obviously based on Charrière himself. It quickly becomes clear that Marco is already in a romantic relationship with Popsy and that he has previously come into contact with Inspector Silva. Marco knows the Inspector’s weakness for beautiful women and he has brought Popsy to the island to distract the oblivious Inspector while they steal the diamonds.

Like most good heist films, things don’t exactly go as planned and Popsy Pop ends up stealing the diamonds for herself. Soon Inspector Silva and Marco are forced to team up and together they begin a cross country chase through the jungles and cities of Latin America after Popsy and the elusive diamonds.

Marco (Henri Charrière ) and Inspector Silva (Stanley Baker) question a hotel clerk
Claudia Cardinale is always interesting to watch and she seems to be enjoying her role as Popsy. On the other hand Stanley Baker is rather dull as Inspector Silva and looks a bit lost in the movie and as much as I enjoyed seeing Henri Charrière playing Marco, his action scenes were a bit hard to watch. Charrière had lived a hard life and he was 65 years old at the time that the movie was made. Unfortunately his age and poor health are somewhat obvious in the film, but Charrière also has a sense of humor and that’s on display as well. For a man who spent much of life in prison, you’ve got admire his ambition at age 65 to attempt acting in a film based on his own script.

Jean Herman’s directing is occasionally impressive in the film, especially after the chase for Popsy and the diamonds begin, but it also seems muddled by the clumsy script and often lackluster performances from the three main stars. A lot of the action in the film is unintentionally funny and poorly executed, but I think the unusual plot turns as well as the exotic locations keep the film interesting.

Popsy (Claudia Cardinale) hides out at the home of an unusal priest
Music always plays an integral part in my own enjoyment of any movie and it can often make or break a film in my opinion. The soundtrack for Popsy Pop is without a doubt one of the most unusual ones I’ve ever heard. I really enjoyed the music conjured up by Frédéric Botton for this film, which is a strange combination of primitive drumming and early synthesizer sounds. It gives the movie an almost surreal mood at times and seems to build and build as the film heads toward it’s climax. Claudia Cardinale also sings a musical number in the production, but the only thing really memorable about that is the bizarre costume she wore while singing the song. Unfortunately the soundtrack is not available on CD yet, but you can occasionally find the soundtrack on vinyl selling for rather steep prices.

With all it’s faults I still found a lot to enjoy about Popsy Pop. It’s a shame that the movie hasn’t gotten a better DVD release yet because it would really benefit from a better quality print with good sound. Hopefully a DVD company will take the time to restore the film someday before it’s forgotten about forever.