Vengeful criminal Terence Stamp comes to LA to find out what happened to estranged daughter Melissa George, who's become mixed up with shady record producer Peter Fonda. The plot is made more interesting with the mosaic-like treatment of the material by editor Sarah Flack and the director, who constantly mess around with sequences in Roeg-like way; in fact she's positively Boydellian, with her displaced sound and imagery. And subtle - the opening sound of the sea.
Loved the moment he has the shit kicked out of him and immediately goes back in and (offscreen) kills everyone.
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| "Tell him I'm fucking coming!" |
The flashbacks use Ken Loach's 1967 Poor Cow clips.
Reminds me in fact of another revenge thriller set in LA, 1967's Point Blank, which I seem to recall also has a similarly complex structure, and therefore could perhaps be considered to be one of the earlier American films to have felt the influence of the nouvelle vague.
Luis Guzman, Lesley Ann Warren, Barry Newman (good), Joe Dallesandro, Nicky Katt, Amelia Heinle.
Photographed by Ed Lachman, music by Cliff Martinez.
Written by British Lem Dobbs, who started out as a child actor in Powell & Pressburger's The Boy Who Turned Yellow. And also wrote Kafka and Haywire for Soderbergh.
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