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Posts tagged “The Warriors

The Warriors – Roger Ebert Review

“The Warriors” is a real peculiarity, a movie about street gang warfare, written and directed as an exercise in mannerism. There’s hardly a moment when we believe that the movie’s gangs are real or that their members are real people or that they inhabit a real city.

That’s where the peculiarity comes in: I don’t think we’re supposed to. No matter what impression the ads give, this isn’t even remotely intended as an action film. It’s a set piece. It’s a ballet of stylized male violence.

Walter Hill, the director and co-writer, specializes in fables like this. His first two films were “Hard Times” and “The Driver,” and they were both at arm’s length from realism. Hill likes characters that take on a legendary, mythic stature, and then he likes to run them through situations that look like urban tableaux.

“Hard times,” a good and interesting film, starred Charles Bronson as a professional street fist-fighter who went up against opponents with all the dimension of a James Bond villain. “The Driver” didn’t even have names for its characters; they were described by their functions, and they behaved toward each other in strangely formal, rehearsed, unspontaneous ways.

“The Warriors” takes that style to such an extreme that almost all life and juice are drained from it; there’s great vitality and energy (and choreography and stunt coordination) in the many violent scenes of gang fights and run-ins with the cops. But when the characters talk, they seem to be inhabiting a tale rehearsed many times before.

One example: Three members of a street gang are lined up in a row. The camera regards the first one. He speaks. The camera pans to the second, and he speaks. The camera pans to the third. He speaks. Because the movement of the camera dictates the order and timing of the speeches, there can be no illusion that the characters are talking as their words occur to them.

This same kind of stiff stylization dominates the film. The street gangs take stances toward each other as if they were figures in a medieval print. The deployment of the police and gang forces is plainly impossible on any realistic level; people move into their symbolic places with such perfectly timed choreography that they must be telepathic. And the chase scenes are plainly impossible, as in one extended shot showing the Warriors outrunning a rival gang’s school bus.

All of this is no doubt Walter Hill’s intention. I suppose he has, an artistic vision he’s working toward in this film, and in his work. He chooses to meticulously ban human spontaneity from his films; he allows only a handful of shallow women characters into his stories; he reduces male conduct to ritualized violence. And in “The Warriors” he chooses, with a few exceptions, to cast against type: Only three or four of the movie’s characters look and sound like plausible street-gang members. The rest look and sound like male models for the currently fashionable advertising photography combining high fashion and rough trade.

All very well, I suppose, except that Paramount chooses to advertise the movie as a violent action picture — and action audiences, I suspect, will find it either incomprehensible or laughable. Walter Hill has a considerable visual skill, and he knows what he’s doing in “The Warriors” and does it well. But is this style suited to this material? And does Hill have other notes to play? All three of his films have shown a certain skittishness in the face of human juices and the unrehearsed flow of life. And so his street gangs, and his movies, walk lockstep through sterile streets.


Worst News EVER…

Mark Neveldine was interviewed on Screencrush and talked about how he and sometime directing partner Brian Taylor, they co-directed Crank 1 and 2, Gamer and Ghost Rider, would like to remake The Warriors. I am not happy… Here is what Neveldine said:

The Warriors would be a remake that Brian and I would love to tackle, it’s just in rights hell at the moment. … We have never been interested in remakes, and probably still aren’t. But that’s the one that we’ve always felt would just be awesome. We just feel like we’re the perfect guys for that job; baseball bats, roller-skates, gangs, the heightened world. We know there’s been fear at some studios like “We make this movie today and gangs are gonna go wild!” And it’s like “Whatever.” You do it in Crank style, people are just gonna laugh and have fun. … We would set it, obviously, five minutes in the future, and we’d really love to build these flamboyant gangs and have fun with them, and have a heightened sense of action and bring all the things that we’ve learned and stolen from Rodriguez and Tarantino and other great directors and put it on the screen. [laughs]

No, no, no… let’s hope they never get the rights and just fuck off to make Crank 3 instead. Ease the nausea by enjoying the original trailer.


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New York Movie Map

New York Movie Map


The Warriors – Gang Figurines

Awesome gang figurines from the classic movie, The Warriors, by Benjaminography…

Gangs_from_the_Warriors_by_benjaminography


Michael Beck

John Michael Beck Taylor (born February 4, 1949), commonly known as Michael Beck, is an American actor, perhaps best known for his role as Swan in the 1979 film, The Warriors.

Beck was born in Memphis, Tennessee, the third of nine children. He attended Memphis University School and Millsaps College in Jackson, Mississippi, on a football scholarship. After graduating with a degree in Economics, he was one of 30 (out of 2,500) applicants chosen for London’s Central School of Speech and Drama. His stage credits, beginning with college, include: Camelot (he was King Arthur); and Cat On a Hot Tin Roof. Besides acting, his hobbies include reading, music and cooking.

Michael Beck is predominantly known for his role as “Swan” in the Walter Hill classic cult action film ‘The Warriors’ (1979). The plot follows The Warriors from Coney Island, Brooklyn. Cyrus (Roger Hill), leader of the Gramercy Riffs, the most powerful gang in New York City, has requested all NY gangs to send nine unarmed representatives to Van Cortland Park, where Cyrus proposes the assembled crowd a permanent citywide truce that would allow the gangs to control the city. Most of the gangs laud his idea, but Luther (David Patrick Kelly), leader of the Rogues, shoots Cyrus and frames the Warriors. In the ensuing panic, the Warriors escape. Unbeknownst to the Warriors, however, the Riffs call a hit on them through a DJ (Lynne Thigpen), believing them responsible for Cyrus’ death. Swan (Michael Beck) takes charge of the group and they head back to the subway… Awesome.

Beck followed The Warriors with the role of “Sonny Malone” in ‘Xanadu’ (1980), and promptly ruined his career prospects. He followed that with b-movies such as ‘Megaforce’ (1982), and ‘Triumphs of a Man Called Horse’ (1982). (Both the Xanadu and Megaforce roles garnered him Razzie nominations for Worst Actor and Worst Supporting Actor respectively.) Beck also appeared in other b-movies such as ‘Warlords of the 21st Century’, ‘The Last Ninja’, ‘The Golden Seal’, ‘Alcatraz: The Whole Shocking Story’, ‘Rearview Mirror’, the 1984 TV movie ‘Blackout’, and ‘Wes Craven’s Chiller’ (as a cryogenically suspended sociopath). He also starred in a short-lived television series, ‘Houston Knights’ (1987). More recently, Beck has featured in the television shows ‘JAG’, ‘Robin’s Hoods’, Walker: Texas Ranger’ (in the episodes Flashpoint and A Difficult Peace), ‘In the Heat of the Night’ (TV Series), and as a Mars-born terrorist-turned-cyborg assassin “Abel Horn” in the science fiction TV series ‘Babylon 5’ 1994 episode “A Spider in the Web”, and as “Mr.Jones” in the spinoff series ‘Crusade’. 

Michael has narrated numerous audiobooks of John Grisham novels. He has also narrated Confederates in the Attic by Tony Horwitz; A Darkness More Than Light by Michael Connelly; State of the Union by David Callahan; and the unabridged version of Bill Clinton’s My Life. He also lent his voice to the popular video game adaptation of The Warriors in 2005.


Walter Hill – Part 2

Walter Hill is responsible for some of the most iconic genre movies over the last 40 years and is arguably one of the most visually influential film makers throughout that period. Unlike many of his contemporaries hardly anyone seems to know who he is… that is until you mention ‘The Warriors’ the movie that Hill will probably be remembered for more than any other. 

In the early 1970’s, Hill carved out a respectable reputation as a quality scriptwriter. His major breakthrough came when he wrote ‘The Getaway’ (1972) for Steve McQueen and Sam Peckinpah. The film is lean, violent and blurs the line between the common perceptions of what constitutes a good guy or a bad guy, themes familiar throughout most of Hills subsequent work. ‘Hard Times’ (‘The Street fighter’), his first film as Director and Writer in 1975 displayed similar themes with Charles Bronson playing a depression era bare-knuckle fighter. Not much of a stretch for Bronson who plays Bronson, the film also featured James Coburn as a fast talking fight promoter.

His first feature to display what would become a recognisable visual style was The Driver. Taking his stripped down writing style to the limit, he even named his characters simply as The Driver (Ryan O’Neal), the getaway driver of the title; The Detective (Bruce Dern) as the cop in pursuit of him and The Player (Isabelle Adjani), The Connection (Ronee Blakely) etc… Hill’s experience as an assistant director on Bullit no doubt influenced his choice of subject matter and muscular action style. It has some great car chases that still hold up today. The film was allegedly written by Hill for Steve McQueen who turned it down as he didn’t want to do another car-chase movie, if he had it may well have been lauded as another iconic 70’s action film.

Hill then co-produced ‘Alien’ a Ridley Scott film in every sense and not a bad addition to any resume especially as a first production credit. He followed this up with a co-screenwriting and coproduction credit on the hugely successful Alien sequel ‘Aliens’ and the less revered ‘Alien 3’ which although not all bad has introduced the world to David Fincher, surely a good thing.

His next film was a sleeper hit, initially due to the negative reaction associated with the films real life violence at many screenings.

The Warriors is probably Walter Hills best known film, certainly his most referenced. The story of a NY City gang, The Warriors, on the run through hostile territory from the Bronx all the way back to their turf in Coney Island. There was a full review on this blog here

For me, Walter Hill owned the early 80’s. I saw every one of his films after that fortunate break with ‘The Warriors’. He didn’t let me down. ‘The Long Riders’ (1980) is an incredible film and a film of many ‘firsts’. Hill’s first western, his first in a long list of collaborations with Ry Cooder and the first film to feature four families of actual real-life brothers Keach, Carradine, Quaid and Guest as the on-screen brothers Frank & Jesse James, Younger, Miller and Ford brothers who make up the James-Younger gang.

The film is dark and brooding, gritty and violent and predates the so-called revisionist western look and feel that has received so much critical praise since Clint Eastwood’s fantastic ‘Unforgiven’ gave the genre another re-birth in 1992. The Long Riders is most famously known for the epic failed raid on Northfield. Similar in tone to The Wild Bunch’s violent bloody demise, Hill’s use of slow motion visuals and sound effects, tracking bullets through the air ripping through the gang, has been done many times since, but not nearly as well.

Despite the negative response heaped on Heaven’s Gate, the Long Riders fared well at the box office, doubling its production budget. In my opinion it remains the best filmed depiction of the James gang, shaded only recently by the excellent and similarly under-appreciated ‘The Assassination of Jesse James by the Coward Robert Ford’

His next feature ‘Southern Comfort’ (1981) stirs up comparisons to John Boorman’s ‘Deliverance’.  The film is an intense chase-thriller starring Powers Boothe, Keith Carradine and Fred Ward as US National Guardsmen on weekend manoeuvres in the Louisiana Bayou. They and their group manage to upset the local Cajuns and have to fight for their lives on the run through the swamp. The film was seen at time of release as a Vietnam allegory but I believe that perception has waned over the years. It still looks and feels contemporary and any first time viewer would be hard pressed to say with any certainty when it was made or indeed, when it is set.


Walter Hill – Part 1

Walter Hill (born January 10, 1942) is an American film director, Producer and screenwriter. Hill was born in Long Beach, California. Growing up in southern California, Hill was asthmatic as a child and, as a result, missed several years of school. He spent much of his time daydreaming, reading comic books, and listening to radio serials. Hill worked in the oil fields as a roustabout on Signal Hill near Los Angeles during summers of the latter part of his high school years and several more years while in college.

Hill is known for male-dominated action films and revival of the Western. He said in an interview, “Every film I’ve done has been a Western,” and elaborated in another, “The Western is ultimately a stripped down moral universe that is, whatever the dramatic problems are, beyond the normal avenues of social control and social alleviation of the problem, and I like to do that even within contemporary stories.”

Hill began his career in the training program of the Directors Guild of America, graduating to work as second assistant director on Steve McQueen hit ‘The Thomas Crown Affair’ in 1968. He went on to work as the uncredited second assistant director on ‘Bullitt’ in the same year. In 1969, he was the second assistant director on a Woody Allen film, ‘Take the Money and Run’, but says he remembers doing very little except passing out the call sheets and filling out time cards.

Hill’s first screenplay, a Western called Lloyd Williams and His Brother, was optioned in 1969 by Joe Wizan, but it was never made. At one point, Sam Peckinpah expressed interest in filming it after ‘The Getaway’ (1972) which became the first of Hill’s screenplays to be produced as a film. Peckinpah ended up doing ‘Pat Garrett and Billy the Kid’ instead.

Peter Bogdanovich’s ex-wife Polly Platt, a film editor, had read Hill’s script for ‘Hickey & Boggs’ and recommended him to co-write ‘The Getaway’ with Bogdanovich. They worked on the script together in San Francisco while Bogdanovich was directing ‘What’s Up Doc?’ They had completed 25 pages when they went back to L.A., whereupon Steve McQueen fired Bogdanovich without reading any of their work. Hill started from scratch and wrote his own script in six weeks.

Hill went on to write a pair of Paul Newman films, ‘The Mackintosh Man’  which by Hill’s own admission, “wasn’t much”; and ‘The Drowning Pool’. He and director John Huston disagreed on how closely to stick to the book on which it was based. Producers Larry Turman and David Foster asked Hill to adapt the novel The Drowning Pool for Richard Mulligan to direct as a sequel to a previous Newman film, ‘Harper’. The producers did not like the direction Hill took with his script, so he left the project to write ‘Hard Times’ for Larry Gordon at Columbia Pictures.

Certain Producers, Directors and Writers are lauded as auteurs, their names often appear above the title, some have even become household names well known to more than the casual film magazine reader. Consider then a Producer, Director and Writer responsible in various guises for cult classics and box office hits such as ‘The Driver’; ‘Alien’ and ‘Aliens’; ‘The Warriors’; ’48 HRS’ and its sequel as well as having a huge influence on the resurgence of the western with his work on ‘Deadwood’.