The Outfit (1973)

Sorry, this movie sucks

Lack of good storyline.

Highly Overrated But Still Good

By the time the dramatic fireworks start popping off, each one feels earned.

Rugged and determined criminal Earl Macklin (superbly played with steely resolve by Robert Duvall) gets released from prison in the wake of robbing a bank owned by a powerful crime syndicate. When said crime syndicate refuses to pay Macklin $250,000 to make amends for killing his brother, Macklin and his jolly partner Jack Cody (a wonderfully lively and engaging performance by Joe Don Baker) decide to steal the money by holding up various syndicate run operations.Tightly directed by John Flynn (who also wrote the succinct script), with a constant pace, startling outbursts of brutal violence, a resolutely tough and unsentimental tone, crisp cinematography by Bruce Surtees, vividly drawn characters, terse dialogue, expertly staged action scenes, excellent use of grungy practical locations, an amusing sense of cynical humor (assorted low-level lackeys readily surrender to Macklin because they just don't get paid enough to risk their lives for their employers), and a spare moody score by Jerry Fielding, this gritty little beaut packs quite a fierce punch. The splendid cast rates as another substantial asset: Karen Black as Macklin's scared, yet loyal moll Bett Harrow, Robert Ryan as ruthless kingpin Mailer, Timothy Carey as fearsome mobster Jake Menner, Richard Jaeckel as no-nonsense stolen car dealer Kimmie Cherney, Sheree North as an enticing tramp, Felice Orlandi as luckless hit-man Frank Orlandi, Joanna Cassidy as Mailer's hot neglected trophy wife Rita, and Elisha Cook Jr. as antsy diner counterman Carl. Essential viewing for fans of rough'n'ready 70's crime thrillers.

With a "tip of its hat" to classic film noir, this revenge thriller is gritty, violent and hard-boiled. It's also fast-moving and action-packed. Everything it portrays is straight-forward, from its plot which doesn't have any twists to its dialogue which is extremely economical but also perfect for the type of characters it features. The characters are, in some cases, entertaining to watch but are nevertheless predominantly criminals who adhere to their own codes of conduct which will inevitably determine their destinies. It's this aspect of their behaviour that creates the on-going sense that they're all on a downward spiral and heading in the direction of a fate over which they have no control.When Earl Macklin (Robert Duvall) is released from a 27 month prison term, he's met by his girlfriend Bett (Karen Black) and learns that his brother Eddie (Edward Ness) has recently been killed by a couple of hit-men. The killing was in reprisal for his involvement in the robbery of a bank which was owned by a criminal organisation called "The Outfit" and as Earl and his old friend Cody (Joe Don Baker) had also been involved, they too would inevitably be on the hit list.At a motel where they share a room, Bett makes it clear that she'd unwillingly disclosed where Earl would be staying to a senior member of the outfit who'd tortured her and threatened to cut up her face. Suitably prepared, Earl surprises and beats up his potential murderer before eliciting some useful information and setting him free.Earl, who's determined to avenge the murder of his brother, then teams up again with Cody and together they raid a series of the outfit's gambling operations before he contacts mob boss Mailer (Robert Ryan) and demands the sum of $250,000 to stop disrupting his business. Mailer, who dismissively says that the outfit make more than that before noon on a good day, readily agrees to Earl's demands but, later double-crosses him before their dispute eventually reaches its violent and very tense conclusion.The action sequences in this movie are exciting, tense and well-directed and there are some standout sequences, for example, when Earl, Cody and Bett get ambushed by a group of outfit gunmen and an occasion when Earl holds up a poker game and robs all the players of their money before taking revenge on Jake Menner (Timothy Carey) for what he'd done to Bett.As if to reinforce its noir credentials, the impressive cast of this movie includes a whole collection of stars who featured in a number of the most famous films noir, with Robert Ryan, Jane Greer, Timothy Carey, Marie Windsor and Elisha Cook Jr. all prominent examples. Timothy Carey's sneering facial expressions are terrific as his character threatens Earl, even when he's in a position of weakness and Robert Ryan is totally convincing as the angry crime boss whose life seems to be utterly joyless. Robert Duvall and Joe Don Baker are also both perfectly cast in their roles with Baker adding some nice moments of humour that add enormously to the enjoyment of watching this fine movie that remains gripping from start to finish.

"The Outfit" was forgotten for years after its theatrical release, though in recent years it seems to have been revived and starting to find an audience. For the most part, it does deserve its rediscovery. It's directed in an engaging '70s style that sets it apart from many other man against the mob movies. The style is not polished, and gives the movie a rough and dirty feeling that makes what happens on screen seem more realistic. The violence doesn't come constantly, but when it does happen it gives the movie a serious kick, despite the movie in the end earning just a PG rating. Duvall does well, not making his character a superman, but someone who is (believably) well skilled and crafty. Baker makes a good sidekick. If I have any complaints about the movie, they are that there isn't a terrible amount of plot, and that Robert Ryan's character doesn't get quite enough footage. But despite those problems, the movie works well, and is a must for those who are fans of cynical '70s movies.

Compact and minimalist in its execution, all the style here is in the dilapidated decor that permeates the proceedings. It has the look of things fallen and past their prime, inhabited by trapped melancholic Men and Women that also have seen better days. This is a showcase of 1970's grit and the then trend of unfettered realism.There is no aggrandizement or formulated Film stuff here. What you see is exactly what it is and what you get. John Flynn, a very underrated Director is on hand to deliver a pantheon of Noir icons and sensibilities. The Movie is deliciously drab.The bits of Action come fast and furious and there are virtually no set ups. It is a rapid-fire display of excessive restraint, but it all works as inglorious Genre bending to fit the new aesthetic. There is a post-censorship edge in the bursts of violence, but the Dialog is straight out of Film-Noir that was straight out of the Paperbacks and Pulps. This one also belongs in the stable of the Hard-Boiled Richard Stark novels featuring his Parker Character. Only Jim Thompson seems to have a bigger Cult following among the post War Crime Novelists.