![]() Westlake (writing as Richard Stark), the plot seems simple. Boorman and Marvin remained friends til the actor’s death Boorman’s 1998 TV documentary Lee Marvin: A Personal Portrait stands as testimony to their relationship.įrom a screenplay by script doctor Alexander Jacobs, writer/film editor Rafe Newhouse and writer David Newhouse based on the novel The Hunter by Donald E. Boorman got final cut on this, his first Hollywood film, and Marvin and he worked very closely together to hone it. Having met on the set of The Dirty Dozen in London, both liked Point Blank's source material but not the initial script (which ended up out the window and, some say, straight into the hands of Hollywood remakers). Luck is also why Point Blank has an eternal quality missing in other films, but it's the kind of luck you make: here, via the intimate collaboration of Boorman and Marvin. Here, those things were a need for a hero like Walker and French New Wave fused with hardened American noir refined through the British filter of Boorman, all soldered together with Marvin’s own near-fatal experiences in World War Two. ![]() For a film to be as viscerally powerful, visually arresting, emotionally shocking and lastingly beautiful as Point Blank, something else has to happen. But all the money in the world and the “best” filmmaking brains available don’t guarantee an iconic film. Davis and composer Johnny Mandel were (or became) Oscar winners or nominees. Point Blank’s director of photography Philip H Lathrop, editor Henry Berman, art directors Albert Brenner and George W. Starring Lee Marvin, Angie Dickinson, Keenan Wynn and John Vernon, Point Blank is rare filmic kismet - the sort that seems like a happy historical accident involving hard graft, art, craft and money. Beginning as a film editor and then moving up through TV, Boorman, who also made Deliverance, Excalibur and Hope and Glory, wrote in his 2003 memoir Adventures of a Suburban Boy about the “essential mysteriousness of movies” - and Point Blank is an excellent example.
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