THE HIT (includes trailer)
October 18th 2010 22:00
One of the most unique films ever made in regards to how it doesn't merely subvert genre conventions, but instead utterly disregards them, The Hit is director Stephen Frears' sublime hybrid of Gangster film meets Road movie. For what The Hit does, it's really is as close to perfect as you can get. Made in 1984, The Hit feels like a marvellous curiosity, a film that so blantantly refuses to be defined by any given style that it seems to have appeared out of a vacuum, and I would love it if there could be more films that felt so thoroughly fresh as this one.
Willie Parker, played by Terence Stamp in the performance of a life time, is a fallen criminal, a traitor who has ratted his mates out in a court case, turning informant. Apparently based on the real life event of British gangster Bertie Smalls (during it's opening), Willie testifies in court, pointing fingers at the man at the top of organized crime food chain, but as he's escorted off the witness stand, the entire English Mob in witness to his testimony begin a sardonic rendition of 'We'll meet again....don't know when.....don't know when'. It's a moment that feels unusually stylized, surreal infact.
Ten years later Willie is found in Spain and two Hitmen, Myron, played by Tim Roth, and Braddok, played by John Hurt, drive him towards France, where he is destined to meet his end. In essence The Hit becomes a road movie as they snake along the roads of Spain, but it's a long drive ahead of them and any thing can happen.
What unfolds is a marvelous surprise and at times even a strangely meta-physical journey, as this road to nowhere takes on many twists and turns, it's not what will happen but how it will happen. On this journey, we know where we are headed, or at least we know where Willie is head in this fatalistic trip, he tries to subtly push the button of his captors, but Stephen Frears, the director, reminds us that nothing ever happens in a straight line. Willie may try to rock the boat but it has surprising affect on everyone. The Hit ignores all of our expectations, when it should go right, it goes left, it ebbs and flows boundlessly, it's exhilerating and often times hilarious.
How The Hit begins, makes us realise that it's not entirely Willie's point of view that this film will ultimately be interested in exploring, as an unidentified character stands with his back to us, on a hill, over looking the land scape during the credits. This of course lands up being the character that John Hurt (Alien, 44 Inch Chest) plays. John Hurt as Braddock strikes us as a mean bastard - a professional, cold, angel of death, but what hurt brings to this is so much more. The job is getting to him, Braddock slowly gets stressed, but he never shows it, he very quietly simmers under the surface, perhaps Willie is getting to him, or perhaps Myron is simply annoying him. Maybe it's someone else, maybe it's the sexually charged young Spanish woman, Maggie (Laura Del Sol) that Braddock inexplicably decided to kidnap along the way, she sizzles with sexuality and maybe Braddock isn't thinking clearly with her around.
Myron is the young up and coming tough guy, who's doing his first job with Braddock (and that's Mr. Braddock to you). Myron is played perfectly by a very young Tim Roth and between him and Hurt, they bring to the screen a combustible odd couple combination. The bottomless drop between these two personalities are ripe fodder for Willie's off handed comments and provocational double speak which amusingly fuels the turbulence of an already rocky partnership.
This is with out a doubt Terence Stamp's finest hour. His performance as Willie is sublime, bringing additional layers to the role that a lesser actor would fail to accomplish. Stamp marvelously highlights the dry comedy of the script. Willie seems to approach his impending fate with a Zen like calmness, which infuriates Myron, does Willie know something perhaps? Stamp seems at times to be carrying the film, but The Hit is ultimately an ensemble success. It's what isn't said by them that comes across so loudly.
As these four drive along, the tense and sometimes nervously amusing dynamics bear uncanny allusions to all sorts of things. There are moments where it feels like these four create a little bit too much of a rapport for this fatalistic situation. The four of them resemble a nuclear family, and at other times teenagers on a joyride, this constantly morphs as characters bear allusions to Christ, vampires, Dennis The Menace and more, the effect is stunning as we realize how all of the brief connections and turmoil during this drive take on a visual form of poetry.
What is so thoroughly striking about The Hit is this film's production design. It's a stroke of perfection and it makes the film look magnificently unique right from the get go. It's harmonious, earthy, yet vibrantly stylish appearance makes The Hit look immediately different. Along with this is the absolutely beautiful and jaw dropping cinematography, along with a Flamenco guitar score by Paco de Lucia that flavours this film. Most of all, the way that Frears' handles the material especially, boasts a visual flair and fine sensibility for character driven tension laced with a wicked sense of humor.
An incongruence or two, in place here, is Frears treatment of certain parts of the film, for example, it's clear that he has a soft spot for the female character which seems to contradict the tone of the film. One could also swear that Frears had an abhorent affliction towards on screen violence, but this too goes out the window during one particuarly graphic moment of violence. I was also bugged slightly at the voice of Willie in the final shot which struck as perhaps too obvious. These all remain a matter of opinion though and I believe that it is still a 98% perfect film.
The Hit also includes a 'crikey, I just shit me pants', true blue performance from Australian Bill Hunter who plays his part for comedic affect, slightly more one dimensionally than the rest of the cast, but adds to the films eclectic and unique pallette.
I love how The Hit is handled, it's all aces as it's key cast and crew deliver an accumulative stroke of brilliance. The Hit is an unexpected surprise for many reasons, but for all it's breaking of the rules and zig zagging you would swear you were seeing something that was a time tested formula. The Hit is a liberated character driven ensemble piece that seems way ahead of it's 'gangster film' peers at once wearing it's icons but doing very different things with them. Absolutely sensational stuff.
| 91 |
| Vote |
subscribe to this blog
Comment by JohnDoe
Film & TV on DVD
I loved this film when I first saw it many years ago but forgot about it until its DVD release.
Watching it a again a couple of years back it really is a bold work that ranks alongside my other Frears' favourite The Grifters.
Good call on the production design and cinematography, both are exceptional and elevate the work of the fine cast.
For the record IMO Stamps career best performance is still The Collector. That being said The Hit, The Limey, Poor Cow, far from the Madding Crowd and Billy Budd are certainly open to debate for the top spot.
Comment by ShaunK
Screen Adventure
I've got the criterion of this - bloody terrific.
The collector, hey? - how excitable, thanks for bringing that to my attention, good old William wyler. Stamp won best actor at Cannes for that one.
Comment by Bryn
Horrorphile
Comment by David O'Connell
Screen Fanatic
Comment by ShaunK
Screen Adventure
David! Thanks for reading. The Hit is truly sublime!