The plot is immediately involving: a deadly but astoundingly successful bank heist. Four robbers led by Charley Varrick (Walter Matthau) accidentally score a fortune from a small bank that happens to launder money for the Mafia. We don't meet any mob bosses, only their mid- and low-level flunkies, including the banker who lost their >$750,000 and is now panic-stricken.
Except for the law, a couple of kids, and one horny old lady, every major character we meet has criminal tendencies and, thanks to Charley, most become targets of a mob vendetta.
But as directed by Don Siegel, "Charley Varrick" is so swift and fun and entertaining that-- in spite of some startling violence and a substantial body count (at least six)-- I reflect on it as a comedy. Siegel telescopes future actions, mostly with visual clues, in a way that makes the story more satisfying than if the payoffs were surprises. It's solid in every way-- propulsive pace, intricate structure, performances, dialog, settings in Nevada (standing in for New Mexico).
Matthau is the implacable center of the film, a man smart enough to let his actions do most of the talking. (Eastwood turned the role down, and there's a line of dialog when a man introduces himself to a woman who says, "I didn't think you were Clint Eastwood.") At no point was I bored. There was only one moment when I thought Siegel was pushing his trust-nobody theme too far: a hit man (Joe Don Baker) hauls off and slaps a counterfeiter (Sheree North), who then smiles and takes him to bed. It felt false for her no-nonsense character, and wasn't necessary for his psychopathic one.
The final scene in the wrecking yard goes on a bit too long, but that's Hollywood for you. And since the ending is satisfying, I can't complain. This is an extremely accomplished film.
Except for the law, a couple of kids, and one horny old lady, every major character we meet has criminal tendencies and, thanks to Charley, most become targets of a mob vendetta.
But as directed by Don Siegel, "Charley Varrick" is so swift and fun and entertaining that-- in spite of some startling violence and a substantial body count (at least six)-- I reflect on it as a comedy. Siegel telescopes future actions, mostly with visual clues, in a way that makes the story more satisfying than if the payoffs were surprises. It's solid in every way-- propulsive pace, intricate structure, performances, dialog, settings in Nevada (standing in for New Mexico).
Matthau is the implacable center of the film, a man smart enough to let his actions do most of the talking. (Eastwood turned the role down, and there's a line of dialog when a man introduces himself to a woman who says, "I didn't think you were Clint Eastwood.") At no point was I bored. There was only one moment when I thought Siegel was pushing his trust-nobody theme too far: a hit man (Joe Don Baker) hauls off and slaps a counterfeiter (Sheree North), who then smiles and takes him to bed. It felt false for her no-nonsense character, and wasn't necessary for his psychopathic one.
The final scene in the wrecking yard goes on a bit too long, but that's Hollywood for you. And since the ending is satisfying, I can't complain. This is an extremely accomplished film.
Tell Your Friends