I never like watching stuff from the 70’s because films from the 70’s tend to all have the same look. A lot of dark textures and brownness. Films from the 70’s all have this ubiquitous saran wrap of brownness over everything, where every object and building looks all gritty and piss-stained. I could only imagine what living through the 70’s was like, especially in New York City where everything was ash colored and you were met with dirt and phlegm in the atmosphere while staving off bouts of scrofula. And, apparently, at any given moment, while taking an innocuous jaunt in the streets, you may be mugged several times in one night.
That was one thing that stood out mostly about Death Wish. It’s essentially clumsy agitprop about unfettered gun control and a paean to vigilantism and revenge that doesn’t even attempt to raise the necessary questions regarding the questionable morality of vengeance and the problematic issues of violence begetting violence. The film operates as a travelogue to the big city for the paranoid and the sheltered. Where large cities are warzones. If Fox News were to ever make a foray into the booming made for tv film market, this would be their marquee attraction. A film that hits all the pleasure zones of the usual Fox News acolyte. Casual and lazy racism, assuming the mantle for justice based upon some vague notion and desire for the good old days, poor writing, fantastical scenarios, wah wah guitars and funk music. All that shyt.
But, fukk it! Death Wish. Charles Bronson playing an architect cum bloodlusty serial killer with all the charisma of a lampshade and Claire Underwood inexplicably turning back time to play Charles Bronson’s wife who is brutally slapped around by Jeff Goldblum. There were a few things I had problems with. Like, after Bronson kills for the first time, we cut to the next scene where a random ex-con has made front page news. This is literally after Charle’s Bronson’s son in law is bemoaning that the crime in the city is faceless and is statistics driven. I’m just saying, how does this random ass murdered ex-con get front page big font news when members of Bronson’s family were raped and murdered and rendered catatonic and there is no press about them? That's worse in my estimation but perhaps I don't know about newsrooms in the 70s. Why in a city where resources are supposedly stretched thin and murders and crime are running rampant does this guy get front page news? Why does Charles Bronson get mugged every time he steps outside?
I could go on, but it’s not really worth it. There was nothing really to take from this film.
Odds and Ends:
Real estate and architecture montage!
The rape scene reminded me of A Clockwork Orange. At least a budget one. Plus there were some interesting filming choices...it looked like a fish eye lens?
I don’t really see the parallels to Taxi Driver, except for in the desire in each main character to wash the city clean of the degenerates and filth. Though the general theme of Taxi Driver is loneliness and an examination of that which adds several intriguing layers to the film. What’s the theme of Death Wish? Sometimes vengeance is the answer? The only way to deter and handle violence is with violence? It’s a reprehensible film.
If there was scene that could completely encapsulate my thoughts on the film it is when Bronson and his son in law have just left visiting his daughter at the nunnery/mental health hospital and Bronson is like, “What about the ol American self defense, oh!” and his son is like, “Well we’re not pioneers, we’re civilized and we can’t just go and kill people in retribution because that is a knotty affair that exacerbates the situation we’re currently in.” (GOOD POINT SIR) and Bronson is like, “Well we can’t just run and hide oh! What do we call those people?” and his son says, “Civilized?” and Bronson says, “No” What? I don’t even know what that scene was trying to convey. It’s like the character of Kearsey didn’t even know what the fukk he was talking about so they just cut to the next scene. Just like this entire movie. Just endless meanderings on shyt that the writers didn't even attempt to flesh out or justify.
it's a well put together film and the score is awesome and very abrasive which works well and sets a tone. It's not afraid to go violent and be damn near detestable in how it portrays crime, particularly that scene that sets Bronson's character down the path he goes on. And that's all the good I have to say about the movie:
. The weak and non developed characters are given the opposite point of view lines and they all fall flat. Every damn time. On the flip side, let's look at Taxi Driver, a film that examines the same themes but clearly doesn't justify the actions of its main character and leaves it up to the viewer to make their own choices about whether they side with Travis Bickle or pity him. This movie says if you don't side with Bronson, you're a damn fool, or a cop who's trying not to make a martyr out of this guy. I gotta give this one a 6/10 and that's me being generous and that's not even because I disagree with the film's politics; I disagree with the filmmakers and Bronson telling me that the film isn't advocating a thing when in truth it makes it seem like being a vigilante is the coolest thing in the world to be because if you become a vigilante, you too can have people talk about you in parties and debate whether you're good for the city and inspire old ladies to fight back in their neighborhoods.
that smiley