The Mechanic
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Movie Reviews of The Mechanic
Movie Review: The best of Bronson
Summary: 4 Stars
I go way back with Charles Bronson all of his movies were very straightforward, and the plot truly had substance.Movie Review: Charles Bronson fan
Summary: 4 Stars
I am a Charles Bronson fan so I enjoyed the DVD. It is a little dated with the 70's slang but I can dig it.Movie Review: A professional James Bond style picture played by Charles Bronson
Summary: 3 Stars
The Mechanic (1972) is a remarkable action movie featuring a
hard-hitting yet subtle actor playing Mr Bishop, a work-for-hire
contract killer, hired by a large, international, powerful,
far-reaching and wealthy syndicate for piece-meal jobs. As such,
this role is extremely well played by Charles Bronson, especially
the part of someone who is able to keep his cool under any and all
circumstances. Here, at one point, Jan-Michael Vincent's character,
Steve McKenna will test that capacity even further.
From a cinematographic point of view, the picture is wide-screen,
(and at least for a large chunk of the movie), is remarkable in
clarity, color, contrast, lighting quality, such as in the ocean
side moments, or Bronson doing surveillance by the window of an
apartment. The action scenes are flawless, those being essential
parts for viewers, with a special mention given to a Fiat or Lancia
car spinning off a cliff, near Naples, IT.
The soundtrack is evidently scored by a classically trained
composer, sometimes reminiscent of Anton Webern's pieces, and a
pleasure for viewers. The only suggestion would have been to mute
the calm music over 2 or 3 scenes, (such as the motocross stunt
scenes and car chases, which is distracting to the storyline) and a
tighter editing overall, of the slower moments.
This seems to be rooted in a book, considering the artistic depth of
the story, and the effort in demonstrating a millionaire's lifestyle
both by Bronson's contact in the outfit, but also in Bronson's own
home, showing paintings from Hieronymous Bosch, sculptures, a stereo
playing numbers by a violin string quartet, a lavishly furnished
home coupled with cocktail gardens outside a 10 million dollar
mansion, an expensive garden, etc.
The intriguing aspect, is the question surrounding how much of the
"facts" being real ?
Bronson and Vincent discuss contract work, underline the absolute
necessity of concealing the circumstances of the victim's real final
moments, in fooling the coroner or police who stumble upon the body.
For example, by provoking fear, panic, and running in an elderly
mark who has a heart condition, a contract is filled as the
respiration ceases. Another, is an explosion in an apartment, from
an apparent gas leak, that is contrived from several days of
preparation.
The attention to detail in the script, is not only painstaking, but
a forensics 101, soldier of fortune 101 and combat duty 101 all
rolled into one.
Bronson is shown using a full spectrum of products and services in
carrying out his assigned duties, ranging from using a firing range,
martial arts, developing negatives in a dark room from film shot
with a powerful zoom, assembling a sharpshooter's rifle with a
silencer, physical fitness with jogging and a pulse meter, piloting
an airplane, doing recon in the area on motocross, being an expert
in disguises, (often showing a disheveled appearance), picking
locks, hot-wiring a car to start the engine, driving a plow truck,
scuba diving with oxygen tank, water proofing firearms, stocking
detonation grenades, preparing chemical concoctions (tea bag
replacements containing sleeping ingredients or combustible
materials), knife throwing, mastering remote eavesdropping and,
Roger Wilco systems, booby traps, setups, etc. No doubt, only a
unit's quartermaster could efficiently equip Bronson for all that
was demonstrated, or a Hollywood studio.
Considering that much of the subject is controversial and psychotic,
the script calls upon happier scenes to rebalance viewers from time
to time, such ilming the Los Angeles Zoo, Marineland, showing the
local Wax Museum, and oceanside of beaches in the area, a scene with
Jill Ireland, a topless bar, tennis match, etc.
The saying "live by the sword, die by the sword" comes true, as the
mechanics are taken out, by their employers, as easily as their past
rubout targets. They are hired contractors, nothing more, nothing
less with no room for error.
Movie Review: The first film in Bronson's classic movie trifecta
Summary: 3 Stars
This film along with 'Mr. Majestyk' and 'Death Wish' represent Charles Bronson's early 70's classic movie trifecta. Though he created many memorable characters in a variety of films I believe his cinematic identity can be traced back directly to this trio. In each of them he creates an indelible character as only he could do - each film is uniquely Bronson, they belong to him and him alone. What this film has as its strength is it's central character, Arthur Bishop, who we watch with great interest. Bishop is a cultured, mannered, well-educated man; he has an appreciation for the arts and lives a solitary, isolated existence in a luxurious and extravagantly furnished house. Seeing him alone in this spacious dwelling influences us that he desperately needs someone - anyone - to make a positive connection with. A little later in the film he will pay a call girl to portray a mistress who has been pining away for him. Still later he sits idly by while a young woman commits suicide, coldly relating to her the statistical facts about her particular method of attempted suicide. Bishop is the son of a deceased criminal kingpin who continues to associate with his father's former cronies. He forms a bond with the son of one of them and that is what forms the crux of the story. The excellent screenplay concentrates more on character study than supplying a liberal amount of action sequences that typically augment so many movies of this genre - and this decision helps raise it to a higher level.
Though the movie is relatively low-key for the most part there are the requisite action scenes that mark a typical Bronson film. Undoubtedly, the opening of 'The Mechanic' is among the most memorable introductory sequences for a film of the action genre. The first fifteen minutes of the film centers around the elimination of a drug dealer. Bronson studies his quarry with great precision, evocative of the style used in the popular television series 'Mission Impossible'. There is not a word of dialogue spoken; only background noises or incidental pieces of conversations on the street are present. There is an exciting motorcycle chase as well, punctuated with bits of humor; a car chase in Naples, punctuated by a gunfight, is also one of the highlights. But what makes `The Mechanic' a cult film favorite is the incredible double-twist ending that you don't see coming - and it makes for one of the most satisfying conclusions in film history.
Other interesting features in `The Mechanic' include the "The Organization" that Bronson works for - it remains tantalizingly undefined. The people of the "contracts" that he fulfills are all criminal in nature and therefore they don't generate our sympathy. Except for the three pivotal role players no one else has a given name. This is done to underscore the detached and emotionless shells that such "mechanics" would naturally maintain. As the film progresses we get the impression that Bishop is going to "get out of the business" or somehow find his way out and settle for a sedate and stress less existence. Instead he becomes as vulnerable as the victims he has been preying on...or does he? Did he really fall into the trap set for him or did he allow himself to because he was convinced he couldn't escape? The screenplay doesn't answer that question definitively but it doesn't hurt the overall impact - it isn't over yet as we soon learn!
If you are watching `The Mechanic' for the first time I envy you. If you are watching it for the first time in quite awhile you will be impressed all over again. Or you may be like me; unable to remember the number of times you have watched it but still can't wait to watch it again.
Some final notes: The dated elements of this movie stand out rather sorely. Steve's house party complete with hippies and their brand of music and vernacular was already an anachronism when `The Mechanic' was made. The interior of the call girl's apartment is also hopelessly early 70's. The karate exhibition that Arthur and Steve attend is laughable as well. Before the exhibition begins Arthur tells Steve "the two masters won't actually hit each other because it would most certainly result in death." Regardless this fight sequence is poorly choreographed and is entirely unconvincing.
Movie Review: Charles Bronson IS The Mechanic, Forget Statham...
Summary: 3 Stars
Arthur Bishop (Charles Bronson) works for a mysterious organization conveniently known as...well, the organization. He is a mechanic, a fixer, or as the profession is more commonly known, a hitman. With his health failing, he takes on an understudy, Steve McKenna (Jan-Michael Vincent), the son of a recently deceased associate (Deceased at his own hand).
Arthur has a meticulous approach to his work, thoroughly studying his targets before concocting elaborate plans to make the hits look like accidents or natural causes. He teaches his young apprentice the nuance of their profession. The duo complete several jobs before being dispatched to a job in Italy that is actually a set-up. The pair work together, while remaining suspicious of each other right until the end.
The characters and plot seemed to be more carefully crafted than the 2011 remake, with personalities and motives that make more sense. The 2011 Statham changed the dynamics, taking away some of the essence of the characters in the process. Changing McKenna's motivations cheapened the character in the remake. His role made much more sense in this original verson. Both scripts are solid, with the 1972 incarnation moving at a slower pace, but delivering greater credibility. There were a few continuity issues (like shotguns that sound like pistols and never run out of bullets), but the story was solid. The dialogue had a campy 1970s feel, but wasn't that bad.
Charles Bronson seems typecast as a hitman. He is cold and aloof, calculating, tough, that is the essence of Charles Bronson in every role I recall. It was a perfect fit. Jan-Michael Vincent was solid as Steve McKenna, although I liked Ben Foster better in the role in the 2011 remake.
The Mechanic was rated PG. Unlike the remake, this verion does not use graphic gratuitous sex and violence to spice things up. It broods a bit more, with heavy stretches of soundtrack taking the place of dialogue and over-the-top visual effects. The original version is handled with minimal gore and surprisingly little violence.
I would give the 1972 version the nod over the latest release. However, it wasn't quite four star material for me. The sluggish pacing lends greater credibility to the film, but does bog down at times. This version has a more believable story, with characters who have motives that make sense. If you like the remake, you are bound to enjoy the original.