Spikeopath The Outfit is directed by John Flynn and Flynn adapts the screenplay from the novel written by Richard Stark (AKA: Donald E. Westlake). It stars Robert Duvall, Joe Don Baker, Karen Black and Robert Ryan. Music is by Jerry Fielding and cinematography by Bruce Surtees.It arguably took a further decade to pass before the 1970s would be revealed as a superb decade for neo-noir. For where the 60s purveyors cribbed close to the stylistics of the 40s and 50s, the 70s operators often saw a shift in emphasis on noir plotting over stylistics, using their own ideas on style to befit tone of plot. One such case is The Outfit, a cunningly moody piece that's at times brutal and at others a wry revenger pumped full of dialogue barbs.Nobody's luck holds forever.Plot finds Duvall as Earl Macklin, who upon being released from prison finds his brother has been murdered by "The Outfit" and he himself is on the hit-list as well. It transpires that Earl and his brother knocked off a bank that "The Outfit" had serious ties to, and the rub-out is on. Only thing is, Earl isn't about to put on a concrete overcoat any time soon and turns the tables on his pursuers.Macklin's mission of revenge and financial rewards is filtered through a world populated by unsavoury characters in unsavoury period suits, the locations frequented often drab and colourless so as to sidle up with the narrative drive. At Earl's side is Cody (Baker), a cool bad ass who fears no one and can spot a femme fatale from a mile off. Also along for the journey is Bett (Black), she's Earl's squeeze, an unmeaning fatale who is quickly thrust into the bloody tale to play an active part.In the villain corner overseeing quiet menace is Mailer (Ryan). In one of his last films released in the year of his death, Ryan leaves noir lovers a character whose every word is to hang on, while his spousal relationship with Rita (Cassidy) is amusingly tender yet cold. The rest of the heavies are by-the-numbers, but they are really only serving purpose as fodder for Earl and Cody's machismo fuelled spree, with the dialogue exchanges a thing of caustic beauty.Baker and Duvall are excellent, and they are backed up by a brilliant support cast, it's a roll call of film noir heroes, villains and dupes. In fact the noir credentials are incredibly high here, from source writer Stark (Point Blank/The Grifters) and director Flynn (Rolling Thunder), to the cast list, it's noir nirvana. Sure we hanker for more from the likes of Elisha Cook and Marie Windsor etc, but Flynn makes his point and ensures lovers of the noir form can feel his love as well.Problems? Well yes of course there's the issue of not having some true nighttime noir photography, and in truth Black is quite simply miscast but gets away with it since the makers offer her up for a narrative sting. Elsewhere, the treatment of women will annoy some, but tonally speaking you have to say it sits well in the world the story exists in. Then there's the ending! I haven't seen the TV version of the pic, but have to say the one offered up there is surely (in the noir universe) far greater than the one we have in the official release, and certainly more befitting what has preceded it.Niggles apart, The Outfit is a cracker and well worth seeking out. 8.5/10

A_Different_Drummer Your humble reviewer is not much of a follower of the "auteur" school of film criticism. Which says that you cannot do a proper review unless you appreciate the history of the work.Usually that is bunk. Not here.If you are new to the series, you should know that some of the best and most acclaimed fiction writers of the last century practically go soppy when you mention the Parker series by Donald Westlake. Writing as Richard Stark, one of the best pen-names of all time. The prose is not merely considered "good" -- there are PhD's who believe it is the best use of the English language of the era.Hollywood struggled with the adaptations. Marvin in 67, the great Bobby Duval here (one year before the breakout Godfather role) and finally the more recent hand-off to Mel Gibson who mugged and wise-cracked his way through the film.In my view, though different physically, Marvin and Duval tie. If I had to, I would give Duval -- one of the longest-working stars in Hollywood, he started in the 50s! -- the nod. Bald, and less imposing, he has to work harder to "sell" the role.Joe Don Baker and Karen Black are merely the icing on the cake.It is a solid actioner by the 70s standards (keeping in mind that the 70s was a "lost decade" for Hollywood, the star system had burnt out and digital SFX had not yet arrived).A good film. If you read the books first, it becomes a great film.

wes-connors Before the opening credits, an assassination occurs. The victim turns out to be a former criminal, attempting to retire in peace. Next, his likewise criminally-minded brother Robert Duvall (as Earl Macklin) is released from an Illinois prison. Pouting girlfriend Karen Black (as Bett Harrow) takes Mr. Duvall to a motel and shares the bad news about "The Outfit" offing his brother. Duvall wants revenge, which moves him up on the hit list. He teams up with best friend Joe Don Baker (as Jack Cody) to go after the big boss, Robert Ryan (as Mailer)...There is fine direction and photography here, by John Flynn and Bruce Surtees, with a fantastic supporting cast - but not enough story for either side of the screen. The character played by Ms. Black is almost dispensable. She is often left sitting around - or, in a marvelous sequence with sexy Sheree North, quietly sleeping in the car. Better to stick with Duvall and Mr. Baker, perhaps opening with Duvall's release from prison and cross-cutting the assassination with a sad discovery of the dead brother's body. And, a smug close-up of Robert Ryan.****** The Outfit (10/73) John Flynn ~ Robert Duvall, Joe Don Baker, Robert Ryan, Karen Black

Simon Harris So says Mailer (Ryan), head of the Syndicate when he meets Macklin (Duvall) in a horse auction. Macklin has been robbing Mailer's operations, to make him pay compensation for the death of his brother, who the Syndicate had killed, because he and Macklin inadvertently hit a Syndicate owned bank. Mailer carries on " We take in $250 grand by noon on a good day" trying to make Macklin feel small and put his compensation demand into some perspective. "I don't care" shoots back Macklin "As long as you pay". Mailer doesn't pay of course, and sends hit men instead to kill Macklin, his partner in crime Cody (Joe Don Baker)and Macklin's moll, Bett (Karen Black). This movie is one of a series of great heist / mob / thriller movies that came out in the early seventies, and reminded me a lot of other classics such as Point Blank or Charley Varrick (incidentally another great role for Baker in that movie.)There are no over the top action scenes, rather everything is cut to the bare essentials. The scene where Macklin and Cody buy a car from hick brothers Chemey (Richard Jaeckel)and Buck (the wonderful Bill McKinney)is superb, with early seventies stalwart Sheree North accusing Cody of trying to rape her when he rebuffs her advances, in such a cool and laconic way I laughed out loud. There are guilty pleasures to be had too, when Cody lays out a female telephone operator with a single vicious punch. All the heists are carefully planned and executed and Macklin and Cody are the ultimate professionals, working calmly and coolly under fire, while Bett drives the getaway car. The movie culminates in an assault on Mailer's home, which is better protected than any bank. "Getting out's gonna be a bitch" observes Cody as they plan their next move. Duvall and Baker really play off each other well in this movie, and their camaraderie and banter is a pleasure to watch, and one of the reasons the film is so enjoyable. Macklin offers Cody the chance to cut and run before the final show-down, as a thank you for his support up to that point,and a recognition that neither of them might make it out alive. "Nah! Think I'll stick around. See how this thing turns out!" he replies without even thinking about it. A tough thriller / heist movie with some eminently quotable dialogue,two great leads, a fine supporting cast that includes a young Joanna Cassidy as Mailer's young squeeze, and a simple plot line, that most movie goers will recognise has been re-made several times under different names: see Point Blank(Lee Marvin) or Payback (Mel Gibson)for example. This film can easily stand alongside those movies, and in many ways might even be superior, as it manages to deliver all of the thrills without any of the violence of Payback, or the voyeurism of Point Blank. Hard to believe this movie will be forty years old next year, as it still stands up as a great thriller.