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The Hit (1984) -
If you also like philosophy in your crime movies, this one is for you. We're lucky enough to get a movie featuring just Terence Stamp, John Hurt or Tim Roth, but here, they're together figuratively and literally in that they spend most of the movie in the same car. Despite most of the runtime occurring in this car, it manages to be as complete an examination of our relationship with death I can remember seeing. Stamp's Willie Parker, who went into hiding in Spain after ratting out his cohorts, but who can hide no longer, is the portrait of acceptance. A scene where he explains his philosophy is so well-acted, he could sway you regardless of your belief system. On the other end of the spectrum is Roth's Myron, who believes he is impervious to death and who likely got into contract killing because he gets high on inflicting pain and causing destruction. Even though I wanted to punch him whenever he spoke, he gives my favorite performance. In between are Hurt's hardened veteran criminal - a type-defying role that scares like Kingsley's one in Sexy Beast does - and del Sol's hostage who, like we would in her shoes, tries every which way to get the heck out of there. On that note, this movie is definitely not just a series of ruminations. While I love movies like this that generate suspense via editing, camera trickery, special effects, etc., I approve of how director Frears does this via acting only and for how long he manages to prolong it. Mike Molloy's cinematography makes Spain out to be a sun-bleached and beautiful expanse, which contrasts well with the much less optimistic vibe in the automobile. Paco de Lucia guitar-laden score also adds just the right vibe of fatalism.
Like many other great movies in this genre, it has a simple and elegant story you could describe in two sentences yet manages to make every action speak volumes. While life and death are oft explored in all genres, there is something special about how it reminds you that we all end up in that car and for how it makes you wonder who you would be in it. I discovered this movie because it's in the Criterion Collection, and like my favorite ones in it, you start by wondering why - after all, it was not a great success - and end up understanding exactly why when it's over. Granted, Roth was a newcomer, but I know...a movie with Terence Stamp and John Hurt was not a great success? Get out of here!
If you also like philosophy in your crime movies, this one is for you. We're lucky enough to get a movie featuring just Terence Stamp, John Hurt or Tim Roth, but here, they're together figuratively and literally in that they spend most of the movie in the same car. Despite most of the runtime occurring in this car, it manages to be as complete an examination of our relationship with death I can remember seeing. Stamp's Willie Parker, who went into hiding in Spain after ratting out his cohorts, but who can hide no longer, is the portrait of acceptance. A scene where he explains his philosophy is so well-acted, he could sway you regardless of your belief system. On the other end of the spectrum is Roth's Myron, who believes he is impervious to death and who likely got into contract killing because he gets high on inflicting pain and causing destruction. Even though I wanted to punch him whenever he spoke, he gives my favorite performance. In between are Hurt's hardened veteran criminal - a type-defying role that scares like Kingsley's one in Sexy Beast does - and del Sol's hostage who, like we would in her shoes, tries every which way to get the heck out of there. On that note, this movie is definitely not just a series of ruminations. While I love movies like this that generate suspense via editing, camera trickery, special effects, etc., I approve of how director Frears does this via acting only and for how long he manages to prolong it. Mike Molloy's cinematography makes Spain out to be a sun-bleached and beautiful expanse, which contrasts well with the much less optimistic vibe in the automobile. Paco de Lucia guitar-laden score also adds just the right vibe of fatalism.
Like many other great movies in this genre, it has a simple and elegant story you could describe in two sentences yet manages to make every action speak volumes. While life and death are oft explored in all genres, there is something special about how it reminds you that we all end up in that car and for how it makes you wonder who you would be in it. I discovered this movie because it's in the Criterion Collection, and like my favorite ones in it, you start by wondering why - after all, it was not a great success - and end up understanding exactly why when it's over. Granted, Roth was a newcomer, but I know...a movie with Terence Stamp and John Hurt was not a great success? Get out of here!