Death Wish – 1974
Vigilante, city style — Judge, Jury, and Executioner
Directors
Michael Winner

Writers
Brian Garfield novel
Wendell Mayes

Producers
Dino De Laurentiis producer
Hal Landers producer
Bobby Roberts producer
Michael Winner co-producer

Cast
Charles Bronson – Paul Kersey
Hope Lange – Joanna Kersey
Vincent Gardenia – Frank Ochoa
Steven Keats – Jack Toby
William Redfield – Sam Kreutzer
Stuart Margolin – Ames Jainchill
Stephen Elliott – Police Commissioner
Kathleen Tolan – Carol Toby
Jack Wallace – Hank
Fred J. Scollay – District Attorney
Chris Gampel – Ives
Robert Kya-Hill – Joe Charles
Edward Grover – Lt. Briggs (as Ed Grover)
Jeff Goldblum – Freak #1
Christopher Logan – Freak #2
Gregory Rozakis – Spraycan
Floyd Levine – Desk sergeant
Helen Martin – Alma Lee Brown
Hank Garrett – Andrew McCabe
Christopher Guest – Patrolman Jackson Reilly
Beverly Goodman – Little Bo-Peep
Ken Ackles – (uncredited)
John C. Becher – (uncredited)
Robyn Blythe – (uncredited)
Bruce Brown – Newsman (uncredited)
Robert Dahdah – (uncredited)
Olympia Dukakis – Cop at the precinct (uncredited)
John Herzfeld – Train mugger (uncredited)
Lawrence Hilton-Jacobs – Mugger (uncredited)
Marcia Jean Kurtz – (uncredited)
Eric Laneuville – (uncredited)
Damien Leake – Mugger (uncredited)
Sonia Manzano – Grocery clerk (uncredited)
Lee Steele – Office Security Guard (uncredited

Review by Jack Gatanella

Death Wish (1974)

perhaps the ‘proverbial good vigilante drama’ of its time,
Before I saw Death Wish, I knew there was more than just the context of it being a starring vehicle for one of the major bad-asses of the action picture, Charles Bronson (who’s best role is still the one with the least words, Once Upon a Time in the West), and that it contains the elements that would spark an entire sub-genre (for better or worse). I knew that there was also a kind of historical context for the times, of how it was in New York City as well as in others during the 70’s (though especially in the 70’s)- I remembered my mother telling me about how the atmosphere of ‘Death Wish’ with its thieves and rapists and abusers was for real, that they were around every corner, and that crime was indeed at an all-time high then. So watching the film with this in mind, it brings a little extra drama to the story of Paul Kersey (Bronson). There is the style, and underlying humor, that appeals for the genre fans (and there is a minor bit of exploitation in making Kersey a ‘bleeding heart liberal’ with skill behind a gun). But there is also a sense of overall tragedy to it all.

The tragedy comes out of a truly disturbing scene- Kersey’s wife and daughter go home from the market, unaware that a trio of hoodlums (one of them a fresh-faced Jeff Goldblum no less) follow them, bust in, and beat and rape them. This is indeed so terrifying and real it tops a scene like the one in Clockwork Orange with the assault on the writer; it’s somehow even more shocking when its in an apartment in the now, with hoodlums as random and sadistic as the ones here. Kersey mourns the loss of his wife and daughter (the latter to dementia) briefly, but it sticks with him through the whole film, in one way or another. The first signs of him knowing what’s around him on the streets at night (and one of the funnier bits of the film’s bleakness) is when he takes a sock full of quarters to use on the hoodlums. This is short-lived after a visit to the south-west, where he gets slipped a gun in his suitcase. The rest of the film unfolds as it would, at least under the circumstances of the genre.

Yet within the grip of Death Wish being a genre picture (and this is something that the sequels and other lessor B films have forgotten) is that there has to be a sense of reality, and real dangers, to the film, not to mention the sort of evolution of Kersey into how he becomes- a killer, a vigilante of the scum who try to rob and threaten to kill. Although the police procedural that parallels his story isn’t as strong as his, it works fine within the scope of the story that has to turn out in a certain way. But there are other factors to go with it besides a strong story (based on an even stronger book Brian Garfield). Bronson is, indeed, great at being, well, Bronson. If the violence in the film doesn’t pull any punches for its time period, Bronson doesn’t skip being good at showing Kersey’s inner strength of defense as well as his weaker side. It’s not a very complex performance aside from the conflicts midway through the film with Kersey, but it’s in a way truer than the film could deserve. Michael Winner, the director, is also an asset with this, in giving to the film its gritty tone. And, as an added bonus, there’s the sweet musical score from Herbie Hancock.

Death Wish is a film of its time, but one that still has significance, and entertainment value for today. People my age (i.e. college kids) will be attracted to it for its ‘retro’ style, and, as it is in the vein of a film like Taxi Driver (though less visceral), as a stylistic action film. And for the older folks, the drama of the film, and the solid storytelling, will keep it interesting. In short, it’s the proverbial good vigilante film of its time, giving Bronson one of his most memorable turns.

Death Wish (1974)
Review by Wayne Malin

Good, solid thriller,
Charles Bronson plays a liberal, mild-mannered architect. His wife (Hope Lange) is murdered and his daughter is gang-raped into a near-comatose state by a gang of thugs (one played by then unknown Jeff Goldblum!). He slowly becomes a vigilante–going out late at night and shooting and killing any muggers and thieves that attack him. Somewhat unrealistically he’s attacked every single night he goes out–was NY THAT bad in 1974? He becomes a media hero and police detective Vincent Gardenia is assigned to stop him.

Interesting movie–on one hand you’re all for Bronson and, on the other, you’re disgusted with what he’s doing. Both sides of the issue are presented but not dealt with in much depth–this IS a Charles Bronson movie after all! Film is dated (NY has gotten much safer since this came out) but is still powerful.

Bronson gives a bad performance which somewhat diminishes the films impact, but everybody else is great–especially Lange and Gardenia. And look for Olympia Dukakis and Christopher Guest (very young and handsome) in small roles.

Only complaint–the murder/rape–it’s way too graphic and disturbing. It’s hard to watch today–I can only imagine the impact in 1974.

Avoid the sequels–they’re all violent killings and nothing else. All the moral issues brought up in this movie are gone.