Malone
***
In the 80s there was plenty of room for the likes of Burt
Reynolds to join in on the “one man killing machine brigade”. Why not, right?
The playfully playboy Reynolds of Smokey and the Bandit is banished to the
adventure comedy genre in favor of the steely-eyed, man-of-few-words,
man-of-action ex-CIA, specially trained, former Vietnam Special Forces killer.
Malone is the name, thugs with guns in suits are his game. And anyone who
enters his orbit with plans to do him harm pay the ultimate price. Of course
they do. This is the 80s and Reynolds nabbed his own part, given the action
part custom designed to make him into the ultimate badass who looks death right
in the eye, doesn’t sweat or flinch. He just snarls and looks dead center into
the line of fire, knowing almost always what he must do in order to survive and
advance. The plot drops Malone in the middle of a land grab. Cliff Robertson—who
never met a shady Mr. Moneybags Psychotic role he didn’t like—is Delaney,
practically owner of this vast terrain of Oregon (British Columbia substituting
for the state, staking its claim as good ole US territory), and wanting more…but
those choice few who actually like where they live and want to remain give
Delaney some unneeded headache.
One of those not willing to cave and sell is Scott Wilson’s Paul Barlow, running an auto shop and gas station with his daughter (played by a young Cynthia Gibb). That Wilson has been involved in all kinds of content and never met a genre he wasn’t willing to get involved in. Here it is a part where he’s a cripple with a good heart and soft spoken personage. His daughter is an innocent, seventeen and devoted to him. Reynolds couldn’t have arrived at a better time for them, considering the squeeze Delaney was applying through the use of bullies and gunmen. One landowner unwilling to sell is plowed through while on his bicycle by unscrupulous nasties, Calvin and Dan Bollard (Tracey Walter and Dennis Burkley, two faces the 80s loved when it came to genre B-movie crap). The Bollards unfortunately pick a fight with Malone and lose. Burkley often throws his weight around (and he had plenty to do just that), and his wholly unpleasant mouth and character could make the skin crawl. He thinks his bulbous frame is still no match for Malone…provoking him to a fight and beaten to a pulp within seconds (good editing and choreography makes Burt look like a million bucks). Walter is “encouraged” (by Delaney’s Number One, Madrid (Alex Diakum)) to get even for his brother (swollen testicles, bad hearing, and broken bones are a result of Malone’s quick handiwork) with some gun manipulation in a barber shop resulting in Malone gaining the upper hand and successful standoff. It is the “what is behind the newspaper, a gun or finger?” gag that falters Walter from attempting to fire (it isn’t a plausible moment in the film because one would think he’d just shoot Malone instead of dick around, but the point was to show that Walter was a “chickenshit”) until Diakum gets at him, resulting in guns-a-blazing.
Kenneth McMillan (I always think of two movies: Dune and Armed & Dangerous with him) is the “bought sheriff” who does nothing to discourage Delaney’s illegal and violent activities. He literally backs up when the likes of Delaney and Malone approach him. One scene has Delaney just walk past McMillan into the police station, into the interrogation room with Malone, without even considering the ill manners and disrespect of his office. After speaking with Malone and finding him one cool customer, quite impressed and beguiled by this cautious-with-his-words character, Delaney tells McMillan’s sheriff to let him go. And McMillan does just that! The CIA soon learns of Malone’s whereabouts as Delaney starts investigating his past and send after him an assassin…someone Malone trusts, Lauren Hutton’s Jamie. A tiny capsule of clear poison is to be administered to Malone when the time is right, but Jamie just can’t do it. Because this is 80s action movie fare, Hutton’s prospects of making it to the end alive are slim to none. Madrid and some thugs arrive, plastic bag in hand, and Malone finds his gal suffocated, left in a bathtub cold and dead with eyes wide open.
So Delaney is pissed because Madrid will bring upon doom to his compound. And explosions…it is an 80s action movie, remember? But Burt will also use the farm to his advantage. A loft with hay and galloping horses freed come in handy for Mr. Malone. Malone also, covertly like a ninja, moves about the grounds stealthily without detection, taking out Delaney’s men. That’s to be expected, though. Malone isn’t about to get caught, even if pursued by Delaney’s heavily-equipped arsenal of men at his disposal. Think Eastwood in the town of Pale Rider (1985), as an example of Malone’s style of attack and undetection. Everywhere he needs to be Malone is while those after him often walk unknowingly into their own demise. The compound of Delaney is Malone’s playground and after some time the grounds is littered with dead bodies.
One of those not willing to cave and sell is Scott Wilson’s Paul Barlow, running an auto shop and gas station with his daughter (played by a young Cynthia Gibb). That Wilson has been involved in all kinds of content and never met a genre he wasn’t willing to get involved in. Here it is a part where he’s a cripple with a good heart and soft spoken personage. His daughter is an innocent, seventeen and devoted to him. Reynolds couldn’t have arrived at a better time for them, considering the squeeze Delaney was applying through the use of bullies and gunmen. One landowner unwilling to sell is plowed through while on his bicycle by unscrupulous nasties, Calvin and Dan Bollard (Tracey Walter and Dennis Burkley, two faces the 80s loved when it came to genre B-movie crap). The Bollards unfortunately pick a fight with Malone and lose. Burkley often throws his weight around (and he had plenty to do just that), and his wholly unpleasant mouth and character could make the skin crawl. He thinks his bulbous frame is still no match for Malone…provoking him to a fight and beaten to a pulp within seconds (good editing and choreography makes Burt look like a million bucks). Walter is “encouraged” (by Delaney’s Number One, Madrid (Alex Diakum)) to get even for his brother (swollen testicles, bad hearing, and broken bones are a result of Malone’s quick handiwork) with some gun manipulation in a barber shop resulting in Malone gaining the upper hand and successful standoff. It is the “what is behind the newspaper, a gun or finger?” gag that falters Walter from attempting to fire (it isn’t a plausible moment in the film because one would think he’d just shoot Malone instead of dick around, but the point was to show that Walter was a “chickenshit”) until Diakum gets at him, resulting in guns-a-blazing.
Kenneth McMillan (I always think of two movies: Dune and Armed & Dangerous with him) is the “bought sheriff” who does nothing to discourage Delaney’s illegal and violent activities. He literally backs up when the likes of Delaney and Malone approach him. One scene has Delaney just walk past McMillan into the police station, into the interrogation room with Malone, without even considering the ill manners and disrespect of his office. After speaking with Malone and finding him one cool customer, quite impressed and beguiled by this cautious-with-his-words character, Delaney tells McMillan’s sheriff to let him go. And McMillan does just that! The CIA soon learns of Malone’s whereabouts as Delaney starts investigating his past and send after him an assassin…someone Malone trusts, Lauren Hutton’s Jamie. A tiny capsule of clear poison is to be administered to Malone when the time is right, but Jamie just can’t do it. Because this is 80s action movie fare, Hutton’s prospects of making it to the end alive are slim to none. Madrid and some thugs arrive, plastic bag in hand, and Malone finds his gal suffocated, left in a bathtub cold and dead with eyes wide open.
So Delaney is pissed because Madrid will bring upon doom to his compound. And explosions…it is an 80s action movie, remember? But Burt will also use the farm to his advantage. A loft with hay and galloping horses freed come in handy for Mr. Malone. Malone also, covertly like a ninja, moves about the grounds stealthily without detection, taking out Delaney’s men. That’s to be expected, though. Malone isn’t about to get caught, even if pursued by Delaney’s heavily-equipped arsenal of men at his disposal. Think Eastwood in the town of Pale Rider (1985), as an example of Malone’s style of attack and undetection. Everywhere he needs to be Malone is while those after him often walk unknowingly into their own demise. The compound of Delaney is Malone’s playground and after some time the grounds is littered with dead bodies.
Delaney has orchestrated this masterplan where fellow “patriots
of pure race” (old congressmen and rich landowners) will build an army of
likeminded and powerful individuals, hoping he can persuade Malone to join up.
Delaney converses with Malone about being lost and in need of direction,
offering him a place with his organization. The film has some background
symbolism I found amusing like the giant American Flag behind Delaney as he
swears in those part of his secret organization, dedicating themselves to this
cause and the statue of Old West cattle hands on horses firing their guns in
the air behind Delaney while at his desk. Robertson had reached that point in
his career where the roles often were of aging power players looking to secure
grand positions and undermined during movies by anti-heroes. Earlier in his
career it was more diverse, where he could play a plethora of sympathetic and
human types not so overtly conveyed in such B-movie villainy. That slight crazed
look in his eyes and this hidden headquarters in this large building resembling
a barn where he was plotting his overthrow offer quite a monster for Robertson
to scenery-chew. Malone is right the opposite. Reynolds trades in the puns for
quiet intensity and that choice few words (an “only what is needed” approach,
with nothing minced). The sly grin and downhome charm not applicable for
Malone. After being targeted by the CIA and Delaney, Malone will once again
burn away his past (Commonwealth of Virginia ID goes up as the credits role).
Gibb and Wilson are regular folks Malone takes a liking to and defends when
Delaney’s men come causing problems. Gibb, even, finds herself attracted to
Malone (surprise, surprise!) but being so young he requests that it’d be best
if she just goes to her room. Wilson’s dad requests Malone to just leave, not
wanting any more trouble than necessary. Malone won’t just leave…especially
when his gal is killed. So buildings blow up, blood squibs are messy, and the
body count once again rises. Reynolds got his chance. It was only fair.
Malone walks away at the end as a building burns. Perfect image of the 80s action film. Actually a key scene I think is one of the film's best involves Gibb being hurt by a member of Delaney's men while pumping his gas. In the nearby house is Malone and it all but appears he's done for. Guns go off and a warning by Gibb saves the day. Pretty cool.
Malone walks away at the end as a building burns. Perfect image of the 80s action film. Actually a key scene I think is one of the film's best involves Gibb being hurt by a member of Delaney's men while pumping his gas. In the nearby house is Malone and it all but appears he's done for. Guns go off and a warning by Gibb saves the day. Pretty cool.
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