殺しの分け前 ポイント・ブランク
あらすじ
No synopsis available.
作品考察・見どころ
AIが作品の魅力を深く読み解いています
興行成績
製作費: $2,500,000 (4億円)
興行収入: $3,200,000 (5億円)
推定収支: $700,000 (1億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
No synopsis available.
AIが作品の魅力を深く読み解いています
製作費: $2,500,000 (4億円)
興行収入: $3,200,000 (5億円)
推定収支: $700,000 (1億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: ジョン・ブアマン
脚本: ドナルド・E・ウェストレイク / Rafe Newhouse / Alexander Jacobs
音楽: Johnny Mandel
制作: Judd Bernard / Robert Chartoff / アーウィン・ウィンクラー
撮影監督: Philip H. Lathrop
You're a very bad man, Walker, a very destructive man! Point Blank is directed by John Boorman and collectively adapted to screenplay by Alexander Jacobs, David Newhouse and Rafe Newhouse from the novel The Hunter written by Richard Stark. It stars Lee Marvin, Angie Dickinson, Keenan Wynn, Carroll O'Connor, Lloyd Bochner and Michael Strong. Music is by Johnny Mandel and the Panavision cinematography (in Metrocolor) is by Philip H. Lathrop. Betrayed by wife and friend during a robbery, Walker (Marvin) is left dying on a stone cold cell floor at closed down Alcatraz... Pure neo-noir, a film that could be argued was ahead of its time, given that it wouldn't find a fan base until many years later. Yet it deserves to be bracketed as a benchmark for the second phase of noir, a shining light of the neo world, experimenting with techniques whilst beating a true film noir heart. The story is deliciously biting, pumped full of betrayals and double crosses, fatales and revenge, death and destruction. It even has a trick in the tale, ambiguity. It all plays out in a boldly coloured Los Angeles, the photography sparkles as Mandel lays an elegiacal and haunting musical score over the various stages of the drama. The talented Boorman has a field day with the elements of time, shunting various strands of the story around with sequences that at first glance seem out of place, but actually are perfect in context to what is narratively happening, the director gleefully toying with audience expectations. While suffice to say angles are tilted and close ups broadened to further style the pic. Then there is Walker, a single minded phantom type character, played with grace and menace by Marvin - who better to trawl the Los Angeles underworld with than Marv? This guy only wants what he is owed from the robbery, nothing more, nothing less, but if the meagre reward is not forthcoming, people are going to pay with something more precious than cash. His mission is both heroic and tragic, with Boorman asking the viewers to improvise their thought process about what it all inevitably means. Funding the fuel around Marvin are good players providing slink, sleaze and suspicion. Deliberate pacing isn't for everyone, neither is stylised violence and stylish directorial trickery, but for those who dine at said tables, Point Blank, and Walker the man, is for you. 9/10
