Monday, 27 October 2014



This 1973 movie has a personal significance for me, for reasons which have nothing to do with the film itself. The only time I ever saw it was when I was around nine, at a drive-in cinema in Malawi, and I remember not one single frame of it. In the UK it had an X for violence, language and nudity, which the Malawi censors would have lopped out with a hacksaw anyway, but it's never surfaced on British DVD (there was a VHS release, which somehow never came my way). And then, out of nowhere, it's available to stream online. How could I not?

In the event, Hit! feels to like two wildly different films bolted together: the gritty New York cop movie and the international group mission comedy, and neither really benefits from being spliced into the other. Billy Dee Williams is a tough, flashily-dressed cop who vows revenge on the heroin dealers whose lethal trade killed his young daughter - not the local street dealers, but the rich Euroscum at the top of the industry. So he recruits a motley assortment of fellow victims of the drugs trade: an addict, parents who lost their son, a man (Richard Pryor doing serious) who lost his wife, to travel to to Marseilles and murder the drug barons in cold blood....

It's a mercy that the streaming service had a subtitling option. Not because of the scenes with the French drug barons, which don't have subtitles but in the event it doesn't matter (my 34-year-old O-Level was very little help) as the dialogue has no relevance to the plot - rather, it was the scenes in English that required them. Billy Dee Williams, who obviously knew how to speak clearly when he turned up in The Empire Strikes Back, delivers every line in an indistinct mumble that makes Brando at his least comprehensible sound like the bloke who used to narrate the Pathe newsreels, and gives today's practitioners of the art of Advanced Verbal Burbling a masterclass in sounding like he's squeaking through a sock.

Language difficulties aside, Hit! is a bit of a mixed bag: the first half feels like it's going to be another French Connection, while the second is a more enjoyable series of assassinations in which people who aren't trained killers manage to bump off the criminals with little difficulty and no trauma, shock or remorse. (Hey, they're heroin dealers so they deserve it.) But I'd have liked it more if it had skewed more towards Panic In Needle Park and less towards Death Wish, where the amateurs manage to wipe out the professionals for the good of civilised society; that half is certainly more fun but sillier (Williams mysteriously gives himself the hit which involves the most speaking French to French natives, despite the fact that he can't speak French or, indeed, at all). Not a classic, then, but enjoyable in spots and it's nice to finally know what I apparently saw bits of forty years ago.


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