Title: HIT!
Year of Release: 1973
Director: Sidney J. Furie
Genre: Crime, Drama
Synopsis: Upon the death of his daughter of a drug overdose, a federal agent plans to take down drug traffickers in Marseilles with assistance from people whose lives were affected by narcotics.
Within a film history context: Motion pictures which have the theme of drug traffickers have been presented in cinema for many years, and in various forms. One of the first was Fred Niblo's YOUNG DONOVAN'S KID (1931). Starring Richard Dix, it followed a man who attempts to stop a drug dealer from foisting his trade on young children. Jack Holt was the star of 1932's BEHIND THE MASK, directed by John Francis Dillon. In this movie, Mr Holt makes an escape from prison with the intention of breaking a heroin drug ring. Matters were different in Herbert Brenon's LIVING DANGEROUSLY (1936). In this movie, the drug trafficker was a doctor involved in selling illicit drugs to addicts, and is discovered by his partner, thus ending this union. Double cross and treachery ensued between the two men before the good doctor is found innocent, and equilibrium reestablished.
Into the 1950s, FINGER MAN (1955), directed by Harold D. Schuster, featured another spin on the theme. The psychological makeup of the characters in this film was more ambiguous than other tales, with a former criminal wanting to take down a crime kingpin responsible for making his sister an addict. More exploitative in content and intent, Joseph W. Mawra's OLGA'S GIRLS (1964) again threw another twist in the drug trafficker theme. In this instance, a woman is the drug dealer who keeps young women on a string with drugs, but her sadistic tendencies inspire their wrath, and she attempts to find out who is trying to take her down. The 1970s brought further explorations of the consequences of drug trafficking on those affected by their actions.
Don Chain's GINGER (1971) was an exploitation film about a young woman going undercover to do away with an organized crime/drug ring. It is mainly of interest as, with OLGA'S GIRLS, the protagonist was female, an undercover agent played by Cheri Caffaro, and also featured gay pornography model Casey Donovan in this R-rated effort. Much more well known, and one of the most commercially successful pictures on drug trafficking was THE FRENCH CONNECTION (1971), directed by William Friedkin. A determined New York City police officer's pursuit of a French drug trafficker, based upon a real-life case, was one of the most exciting, well-acted films about the theme. 1973 marked the release of two more films dealing with drug dealers and traffickers. Jack Hill's COFFY, again with a female lead character, starred Pam Grier as a young woman seeking revenge against the drug dealers responsible for her sister's passing. GORDON'S WAR, directed by Ossie Davis, had a band of Vietnam veterans waging war against drug dealers and other criminals in New York City. HIT!, while carving its own path, had both similarities to past films in the genre, but diverged from them in other ways.
It shared some affinities with YOUNG DONOVAN'S KID and BEHIND THE MASK in that a male character assigned himself with the mission of stopping a drug ring. Where HIT! diverted was that the lead protagonist, Nick Allen, did not work on his own. While the other films were mostly about a single character taking on the drug trade, HIT! had Nick, a federal agent, enlist the assistance of several people whose lives were affected by drugs, such as himself, whose daughter died of a drug overdose. This made the film slightly more akin to movies such as THE MAGNIFICENT SEVEN (1960) in that a band of people became a team to help overthrow an oppressor. While this particular film did not deal with drugs, the grouping of different characters had a like structure to HIT! The difference between the two movies, though, is that in THE MAGNIFICENT SEVEN the characters were all men, and gunfighters, while in HIT! the majority of characters were amateur assassins, with two female characters in the team. This gave HIT! a point of differentiation, and also, some more poignant moments of reflection than the former film.
On the other hand, HIT! harked back to THE FRENCH CONNECTION, in that a man employed by the government took it upon himself to take on drug traffickers on their own game. Both films had charismatic lead characters who the audience could relate to, and understand the rationale for their actions. Neither Nick Allen, nor Popeye Doyle, were ex-criminals or morally cloudy, but both heroes in their distinctive way. The conclusion of HIT!, though, tied up loose ends successfully in the first instance, unlike THE FRENCH CONNECTION, where a sequel appeared in 1975. As HIT! is seen by many quarters as an example of Blaxploitation, it also shares some semblance to COFFY, in that the protagonist has lost a relative to drugs. HIT!, though, also has elements of the revenge film within its structure which merit discussion.
Where Michael Winner's DEATH WISH (1974) does not deal explicitly with drugs, but has a lead dispatching character after character in New York City, its focus in who is marked for death is not as studied as HIT! Nick Allen carefully plans his hits on drug traffickers with precision and care, ensuring that his team are fully on board. Unlike Paul Kersey in DEATH WISH, where he marks unknown, random criminals for death, and never those who killed his wife, and raped his daughter, Nick Allen knows from the beginning who he wants to do away with, and goes from there in exacting his revenge. Nick Allen is as single-minded as the female lead of the later I SPIT ON YOUR GRAVE (1978), directed by Meir Zarchi, who avenges those who have wronged her in an equally (but more explicit filmically, alas less stylish) fashion. In summing up, it can be said that HIT! is a film which adds some original touches to the crime genre which make it an interesting movie to watch.
Within a film history context: Motion pictures which have the theme of drug traffickers have been presented in cinema for many years, and in various forms. One of the first was Fred Niblo's YOUNG DONOVAN'S KID (1931). Starring Richard Dix, it followed a man who attempts to stop a drug dealer from foisting his trade on young children. Jack Holt was the star of 1932's BEHIND THE MASK, directed by John Francis Dillon. In this movie, Mr Holt makes an escape from prison with the intention of breaking a heroin drug ring. Matters were different in Herbert Brenon's LIVING DANGEROUSLY (1936). In this movie, the drug trafficker was a doctor involved in selling illicit drugs to addicts, and is discovered by his partner, thus ending this union. Double cross and treachery ensued between the two men before the good doctor is found innocent, and equilibrium reestablished.
Into the 1950s, FINGER MAN (1955), directed by Harold D. Schuster, featured another spin on the theme. The psychological makeup of the characters in this film was more ambiguous than other tales, with a former criminal wanting to take down a crime kingpin responsible for making his sister an addict. More exploitative in content and intent, Joseph W. Mawra's OLGA'S GIRLS (1964) again threw another twist in the drug trafficker theme. In this instance, a woman is the drug dealer who keeps young women on a string with drugs, but her sadistic tendencies inspire their wrath, and she attempts to find out who is trying to take her down. The 1970s brought further explorations of the consequences of drug trafficking on those affected by their actions.
Don Chain's GINGER (1971) was an exploitation film about a young woman going undercover to do away with an organized crime/drug ring. It is mainly of interest as, with OLGA'S GIRLS, the protagonist was female, an undercover agent played by Cheri Caffaro, and also featured gay pornography model Casey Donovan in this R-rated effort. Much more well known, and one of the most commercially successful pictures on drug trafficking was THE FRENCH CONNECTION (1971), directed by William Friedkin. A determined New York City police officer's pursuit of a French drug trafficker, based upon a real-life case, was one of the most exciting, well-acted films about the theme. 1973 marked the release of two more films dealing with drug dealers and traffickers. Jack Hill's COFFY, again with a female lead character, starred Pam Grier as a young woman seeking revenge against the drug dealers responsible for her sister's passing. GORDON'S WAR, directed by Ossie Davis, had a band of Vietnam veterans waging war against drug dealers and other criminals in New York City. HIT!, while carving its own path, had both similarities to past films in the genre, but diverged from them in other ways.
It shared some affinities with YOUNG DONOVAN'S KID and BEHIND THE MASK in that a male character assigned himself with the mission of stopping a drug ring. Where HIT! diverted was that the lead protagonist, Nick Allen, did not work on his own. While the other films were mostly about a single character taking on the drug trade, HIT! had Nick, a federal agent, enlist the assistance of several people whose lives were affected by drugs, such as himself, whose daughter died of a drug overdose. This made the film slightly more akin to movies such as THE MAGNIFICENT SEVEN (1960) in that a band of people became a team to help overthrow an oppressor. While this particular film did not deal with drugs, the grouping of different characters had a like structure to HIT! The difference between the two movies, though, is that in THE MAGNIFICENT SEVEN the characters were all men, and gunfighters, while in HIT! the majority of characters were amateur assassins, with two female characters in the team. This gave HIT! a point of differentiation, and also, some more poignant moments of reflection than the former film.
On the other hand, HIT! harked back to THE FRENCH CONNECTION, in that a man employed by the government took it upon himself to take on drug traffickers on their own game. Both films had charismatic lead characters who the audience could relate to, and understand the rationale for their actions. Neither Nick Allen, nor Popeye Doyle, were ex-criminals or morally cloudy, but both heroes in their distinctive way. The conclusion of HIT!, though, tied up loose ends successfully in the first instance, unlike THE FRENCH CONNECTION, where a sequel appeared in 1975. As HIT! is seen by many quarters as an example of Blaxploitation, it also shares some semblance to COFFY, in that the protagonist has lost a relative to drugs. HIT!, though, also has elements of the revenge film within its structure which merit discussion.
Where Michael Winner's DEATH WISH (1974) does not deal explicitly with drugs, but has a lead dispatching character after character in New York City, its focus in who is marked for death is not as studied as HIT! Nick Allen carefully plans his hits on drug traffickers with precision and care, ensuring that his team are fully on board. Unlike Paul Kersey in DEATH WISH, where he marks unknown, random criminals for death, and never those who killed his wife, and raped his daughter, Nick Allen knows from the beginning who he wants to do away with, and goes from there in exacting his revenge. Nick Allen is as single-minded as the female lead of the later I SPIT ON YOUR GRAVE (1978), directed by Meir Zarchi, who avenges those who have wronged her in an equally (but more explicit filmically, alas less stylish) fashion. In summing up, it can be said that HIT! is a film which adds some original touches to the crime genre which make it an interesting movie to watch.
Overview: Sidney J. Furie is a prolific filmmaker who over the course of his sixty-three year career has directed forty-five feature films, with another currently in post-production. Mr Furie is a generalist who has made movies in a number of genres, from crime, action, adventure, comedy to romance. His first film, A DANGEROUS AGE (1957) was a romance which charted the obstacles two young people faced in becoming a couple. Into the 1960s, he made THE BOYS (1962). A drama set in 1960s London, it followed the exploits of four teenagers involved in crime, a theme which Mr Furie explored on various occasions in his career. His next notable film was THE LEATHER BOYS (1964). This was the story of a young woman who marries a biker, this explaining the leather of the title, and how his relationship with his friend impacts on the marriage. Starring a largely British cast, it was another step forward for Mr Furie in making daring movies. 1965 brought THE IPCRESS FILE to audiences. A thriller of espionage and double-cross, again with a British cast including Michael Caine and Gordon Jackson, it is noteworthy as a predecessor for the theme Mr Furie would later investigate in HIT! As a change of pace, Mr Furie then tackled the action-romance genre in THE APPALOOSA (1966). Starring Marlon Brando, it focused upon a man's quest to take back his horse which has been appropriated by a Mexican man. The 1970s was a time of growth for Mr Furie, when he would make films about copious themes.
With the inception of the 1970s, Mr Furie released THE LAWYER (1970). It followed a lawyer who becomes involved in a murder case, and was a change of pace for the director. The same year he made the action film, LITTLE FAUSS AND BIG HALSY (1970) starring Robert Redford as a biker. Mr Furie then filmed the biography of singer Billie Holliday, LADY SINGS THE BLUES (1972). With Diana Ross as Miss Holliday, it was one of his most famous, well-remembered movies, with memorable musical trimmings. The remainder of the 1970s featured various types of movies in mr Furie's oeuvre. SHEILA LEVINE IS DEAD AND LIVING IN NEW YORK (1975) gave Mr Furie the opportunity to display his aptitude for comedy. In this movie, a young woman who moves to New York City and finds love. Mr Furie again tackled a biographical film, GABLE AND LOMBARD (1976). The story of Clark Gable and his ill-fated wife Carole Lombard, it was a movie of a more romantic nature than usual, but was critically derided upon release. Sidney Furie looked at Vietnam with THE BOYS IN COMPANY C (1977). A film with much profanity, it provided its cast with a realistic story about a boot camp that turns into a nightmare once the soldiers arrive in Vietnam.
In the 1980s Mr Furie's movies were not as prominent as his 1970s pictures. After uncredited direction on two movies, he made THE ENTITY (1982). A horror film about a woman who is menaced by a demon she cannot see but of which she can definitely feel the presence, it was the first time he had made a horror genre entry. With PURPLE HEARTS (1984), Mr Furie revisited Vietnam, this time charting the love story of a doctor and a nurse. The remainder of the decade was devoted to two instalments of the IRON EAGLE franchise in 1986 and 1988 respectively, and, in 1987, a film in the Superman franchise, SUPERMAN IV: THE QUEST FOR PEACE. HIT!, as with Mr Furie's other films, has an intricate structure that organizes the movie. In this particular instance, though, this has both its positive, and negative aspects.
While HIT! takes its time in establishing certain parts of the story for viewers, such as giving viewers an insight into the public images of drug traffickers, who work in places such as fashion houses, this can be frustrating at times to watch. In the first half, the film is a mixed bag of elements. It begins in a very nonchalant manner, showing how a young woman dies from a drug overdose, and her father's reaction to this. Even though one can feel Nick Allen's loss as Billy Dee Williams plays his part with great subtlety, the spectator is never given the chance to really understand the father-daughter relationship. There are no scenes of them together, or flashbacks, to move the viewer further with Nick Allen's plight. Events just occur in a cut and dry manner which is largely symptomatic of the film as a whole. Many times it lacks an emotional core which runs the viewer hot and cold. There are many scenes in the first half which could have been tightened or eliminated, such as Nick Allen's scene with Sherry Nielson which seems to take forever to get up off the ground, and is all the more grating for the profanity it contains which comes thick and fast. This also points to what occurs in the second half of HIT! which is also problematic in retrospect.
Where the first segment of the movie was slow in setting the scene for viewers, the second part concentrates on the execution of Nick Allen's plan in more rapid fashion. This also has a jarring effect as the killings take place one after the other, and there is little, or no, toll on the people who carry these out. While there is some exploration of characters hesitant with what they are about to do, such as in Ida's case, it is rarely shown, except in Sherry's case, how they feel after being involved in these killings. Again, events just happen, without any reactions exhibited by characters. This renders the film rather cold and systematic, more of a stylistic exercise than anything else. It is as if the ducks have been set up to be fired at, with just finding different ways of murdering people to provide short-term thrills and spills. Despite these deficiencies, HIT! does have some strengths that provide reprieve when watching the movie.
While HIT! does contain violent content, it is much milder than what was occurring onscreen at this time in other crime movies. Some of the killings are quite disturbing to witness, but Mr Furie does not linger too long at these moments, preferring to cut away completely when the action could become too intense or gory. This has the effect of making the film less exploitative of human carnage than others, thereby making it all the more artistic, its restraint admirable under the circumstances. The handling of the film's most heart-rending moments is also very good, particularly Ida's scenes as she recounts what happened in her life. Ida seeing a drugged man in the room, which brings back haunting memories, is probably the film's most true to life, insightful segment. The introduction of some black comedy inserts in the second half seems slightly strange, as the first part was mostly serious in nature, but, it does work in an unconventional way, giving the film some oomph when least expected. Aside from these points, even though the film is quite uneven in its combination of elements, there is something about it that should be noted. HIT! should be commended as a film that does not glamorize drug trafficking and abuse, its director's sincerity in taking on this issue laudable.
With the inception of the 1970s, Mr Furie released THE LAWYER (1970). It followed a lawyer who becomes involved in a murder case, and was a change of pace for the director. The same year he made the action film, LITTLE FAUSS AND BIG HALSY (1970) starring Robert Redford as a biker. Mr Furie then filmed the biography of singer Billie Holliday, LADY SINGS THE BLUES (1972). With Diana Ross as Miss Holliday, it was one of his most famous, well-remembered movies, with memorable musical trimmings. The remainder of the 1970s featured various types of movies in mr Furie's oeuvre. SHEILA LEVINE IS DEAD AND LIVING IN NEW YORK (1975) gave Mr Furie the opportunity to display his aptitude for comedy. In this movie, a young woman who moves to New York City and finds love. Mr Furie again tackled a biographical film, GABLE AND LOMBARD (1976). The story of Clark Gable and his ill-fated wife Carole Lombard, it was a movie of a more romantic nature than usual, but was critically derided upon release. Sidney Furie looked at Vietnam with THE BOYS IN COMPANY C (1977). A film with much profanity, it provided its cast with a realistic story about a boot camp that turns into a nightmare once the soldiers arrive in Vietnam.
In the 1980s Mr Furie's movies were not as prominent as his 1970s pictures. After uncredited direction on two movies, he made THE ENTITY (1982). A horror film about a woman who is menaced by a demon she cannot see but of which she can definitely feel the presence, it was the first time he had made a horror genre entry. With PURPLE HEARTS (1984), Mr Furie revisited Vietnam, this time charting the love story of a doctor and a nurse. The remainder of the decade was devoted to two instalments of the IRON EAGLE franchise in 1986 and 1988 respectively, and, in 1987, a film in the Superman franchise, SUPERMAN IV: THE QUEST FOR PEACE. HIT!, as with Mr Furie's other films, has an intricate structure that organizes the movie. In this particular instance, though, this has both its positive, and negative aspects.
While HIT! takes its time in establishing certain parts of the story for viewers, such as giving viewers an insight into the public images of drug traffickers, who work in places such as fashion houses, this can be frustrating at times to watch. In the first half, the film is a mixed bag of elements. It begins in a very nonchalant manner, showing how a young woman dies from a drug overdose, and her father's reaction to this. Even though one can feel Nick Allen's loss as Billy Dee Williams plays his part with great subtlety, the spectator is never given the chance to really understand the father-daughter relationship. There are no scenes of them together, or flashbacks, to move the viewer further with Nick Allen's plight. Events just occur in a cut and dry manner which is largely symptomatic of the film as a whole. Many times it lacks an emotional core which runs the viewer hot and cold. There are many scenes in the first half which could have been tightened or eliminated, such as Nick Allen's scene with Sherry Nielson which seems to take forever to get up off the ground, and is all the more grating for the profanity it contains which comes thick and fast. This also points to what occurs in the second half of HIT! which is also problematic in retrospect.
Where the first segment of the movie was slow in setting the scene for viewers, the second part concentrates on the execution of Nick Allen's plan in more rapid fashion. This also has a jarring effect as the killings take place one after the other, and there is little, or no, toll on the people who carry these out. While there is some exploration of characters hesitant with what they are about to do, such as in Ida's case, it is rarely shown, except in Sherry's case, how they feel after being involved in these killings. Again, events just happen, without any reactions exhibited by characters. This renders the film rather cold and systematic, more of a stylistic exercise than anything else. It is as if the ducks have been set up to be fired at, with just finding different ways of murdering people to provide short-term thrills and spills. Despite these deficiencies, HIT! does have some strengths that provide reprieve when watching the movie.
While HIT! does contain violent content, it is much milder than what was occurring onscreen at this time in other crime movies. Some of the killings are quite disturbing to witness, but Mr Furie does not linger too long at these moments, preferring to cut away completely when the action could become too intense or gory. This has the effect of making the film less exploitative of human carnage than others, thereby making it all the more artistic, its restraint admirable under the circumstances. The handling of the film's most heart-rending moments is also very good, particularly Ida's scenes as she recounts what happened in her life. Ida seeing a drugged man in the room, which brings back haunting memories, is probably the film's most true to life, insightful segment. The introduction of some black comedy inserts in the second half seems slightly strange, as the first part was mostly serious in nature, but, it does work in an unconventional way, giving the film some oomph when least expected. Aside from these points, even though the film is quite uneven in its combination of elements, there is something about it that should be noted. HIT! should be commended as a film that does not glamorize drug trafficking and abuse, its director's sincerity in taking on this issue laudable.
Acting: The acting in HIT! is one of its strongest assets. In the lead role of Nick Allen, Billy Dee Williams has his trademark easy-going charm which always makes him a great actor to watch, but this time coupled with a more thoughtful undercurrent which works well in the film. He is the ideal choice for a central character, with both humorous, and edgier moments performed with panache by Mr Williams. His chemistry with the other characters should also be mentioned, working well with characters of all temperaments in the movie. As Mike Willmer, Richard Pryor is well matched with Billy Dee Williams, Mr Pryor's more explosive style a good contrast to Mr Williams' smooth charisma. Mr Pryor is well-known for his use of expletives in other films which sometimes becomes too much to bear, but in this film his swearing has a definite purpose, and reason for being. As a man who has lost someone to drugs, his anger-fuelled swearing sessions take on a more emotional significance in HIT!, giving his performance, and the film, as a whole, added credence. The remainder of the cast do a fine job in the movie which immeasurably assists it.
Janet Bandt, as Ida, a woman who has lost her son to drugs, is excellently portrayed by Miss Bandt. In both her most emotional, and in the black comedy scenes, she projects the utmost sincerity and realism, being the film's finest female acting contribution. On the other hand, while she tries hard, Gwen Welles did not seem to register in her role as Sherry. Possibly she was miscast in the film, but the movie needed someone such as Barbara Hershey, or Margot Kidder, to give the role more impetus, to make the scenes more powerful. There is, though, one supporting role in HIT! which is particularly noteworthy, but too brief on screen. As Carlin, the live wire, trigger-happy hitman, David Zooey Hall adds another distinctive portrayal to his gallery of exceptional film performances. An actor who appeared in little more than a handful of films, his interpretations of characters are unique viewing experiences. As always, Mr Hall makes his character a real, flesh and blood person for the viewer, in what is a seamless melding of actor and character. One of the delights of seeing late 1960s, and 1970s films is witnessing Mr Hall's performances which are intriguing, and penetrating.
Soundtrack: Lalo Schifrin's score is insistent in tone but suits HIT! perfectly. It especially emphasizes the film during its quieter stretches such as the funeral of Nick Allen's daughter, but is utilized in a spare manner throughout, this working out for the best for the film overall. The score is reminiscent of previous movies set in World War II with its drum beat, the implication being that HIT! is also a war film of sorts in the gun battles and its other carefully staged sequences of mayhem, death and destruction.
Janet Bandt, as Ida, a woman who has lost her son to drugs, is excellently portrayed by Miss Bandt. In both her most emotional, and in the black comedy scenes, she projects the utmost sincerity and realism, being the film's finest female acting contribution. On the other hand, while she tries hard, Gwen Welles did not seem to register in her role as Sherry. Possibly she was miscast in the film, but the movie needed someone such as Barbara Hershey, or Margot Kidder, to give the role more impetus, to make the scenes more powerful. There is, though, one supporting role in HIT! which is particularly noteworthy, but too brief on screen. As Carlin, the live wire, trigger-happy hitman, David Zooey Hall adds another distinctive portrayal to his gallery of exceptional film performances. An actor who appeared in little more than a handful of films, his interpretations of characters are unique viewing experiences. As always, Mr Hall makes his character a real, flesh and blood person for the viewer, in what is a seamless melding of actor and character. One of the delights of seeing late 1960s, and 1970s films is witnessing Mr Hall's performances which are intriguing, and penetrating.
Soundtrack: Lalo Schifrin's score is insistent in tone but suits HIT! perfectly. It especially emphasizes the film during its quieter stretches such as the funeral of Nick Allen's daughter, but is utilized in a spare manner throughout, this working out for the best for the film overall. The score is reminiscent of previous movies set in World War II with its drum beat, the implication being that HIT! is also a war film of sorts in the gun battles and its other carefully staged sequences of mayhem, death and destruction.
Mise-en-scene: Use of locations and sets is one of the best aspects of HIT! The outdoor sequences are filmed with vigor and style by the director, the car chase scenes exciting, and choice of locations such as the wintry fishing town where the team are staying appropriate. Other places such as Sherry's hotel room, the fashion house, and various restaurants are also well selected, and of a high standard. Costuming is also excellent, with Mr Williams and Mr Hall, in particular, wearing sartorially elegant garments, and the remainder of the cast also decked out in clothing which fits with the personality of their characters. Additionally, the opening credits are entirely in black and white, only displaying the names of the cast and crew. Accompanied by Lalo Schifrin's score, these imply for the viewer a feeling of immediacy, and suspense, with what is to follow.
Award-worthy performances in my opinion: Billy Dee Williams, Richard Pryor, Janet Bandt, David Zooey Hall.
Award-worthy performances in my opinion: Billy Dee Williams, Richard Pryor, Janet Bandt, David Zooey Hall.
Suitability for young viewers: No. Frequent coarse language, female nudity, adult themes, medium-level violence.
Overall Grade: C
Link: IMDB Page
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