Angie dickinson point blank
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As far as the story-line is concerned, that’s just it.
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Walker goes to great lengths to locate Mal and extract money, which includes sending Lynn’s sister, Chris (Angie Dickinson) as a ‘Trojan Horse’, the girl whom Mal covets for. She has had an affair with Mal and reluctantly participated in the double-crossing scheme. To track down Mal, Walker first sneaks up on his wife Lynn (Sharon Acker). It is interesting to note that the straight-faced Walker doesn’t want vengeance, but just his money. Guided by a mysterious old man named Yost (Keenan Wynn), Walker works his way into the mob enterprise, simply known as ‘The Organization’, to retrieve his share of the heist, i.e., $93,000. Of course, Walker survives and seeks his betrayer, the best-friend-turned-enemy, Mal Reese (John Vernon). Based on Richard Stark’s slim novel The Hunter, the narrative is centered an around a middle-aged man named Walker (phenomenally played by Lee Marvin with white hair and dead-set eyes), who after participating in a heist, is double-crossed, shot, and left to die. Despite glowing praises heaped upon Point Blank, its plot is anything but lean and simple, which in the hands of a lesser film-maker would come across as just another bad Hollywood action/drama. Dubbed as ‘Europeanized’ American cinema, these provocative studio films of the era were immensely influenced by the formal innovations of French New Wave and other unconventional avant-garde stylistics. In fact, Point Blank exemplifies the dawn of the new American cinema, alongside the subversive works like Bonnie and Clyde and The Graduate (released in the same year). UK-born film-maker John Boorman’s American debut Point Blank (1967) is one of my most favorite noir cinema made long after the official end of the film-noir era.