Ein Mann räumt auf

Charles Bronson is at his best when playing the silent tough guy, but in this British-backed chase thriller he is let down by workmanlike direction and a drearily routine script. Bronson's Phoenix cop, Charlie Congers, is certainly a silent and tough character - just the kind of role old Stone-Face usually excels at - but there are too many weaknesses in Love and Bullets to make it a particularly worthwhile film.

Phoenix police officer Charlie Congers (Bronson) is keen to gather evidence on Mob bigwig Joseph Bomposa (Rod Steiger). He learns that Bomposa's mistress Jackie Pruitt (Jill Ireland) is hiding out in Switzerland, so he jets off hoping to find her and persuade her to testify against him. Bomposa, realising that the game could be up, issues orders that Jackie must be silenced whatever the cost. Soon, Congers and Jackie are on the run in snowy Switzerland, with a whole bunch of hired killers hot on their heels.

Steiger is in over-acting mode here, but fortunately he doesn't have too many scenes so his opportunities to embarrass himself are kept to a minimum. The story is a simplistic chase narrative of a type seen many times before, and scripters Wendell Mayes and John Melson don't have many surprises up their sleeves to freshen this one up. Bronson fans like to see their man wasting bad guys and plunging head-first into action, but Love and Bullets pauses far too regularly for its own good and viewers looking for action will feel very short-changed. The film isn't a total loss - it has sporadic effective scenes, is always pleasing to the eye, and has one genuine moment of surprise near the end - but on the whole it is undoubtedly a lot less impressive than it could have been. Don't rush to add it to your wish list.

Mr. and Mrs. Charles Bronson co-star in Love and Bullets. He as a cop and she as a protected witness. She needed a lot of protection.

It's an average Bronson action/adventure saga, but with the unusual twist that Jill Ireland actually comes off much better than her husband does. I did enjoy her saucy portrayal of mobster Rod Steiger's moll. It's a combination of Judy Holliday's Billie Dawn and Tammy Faye Bakker. I'll tell you this Tammy Faye must have been the makeup consultant for Jill on this film.

Rod Steiger has an interesting part as a gangster with a stutter. He's persuaded by his associates to do in the woman he loves because they're all afraid she'll rat them out. Broderick Crawford's solution was to finally propose marriage to Holliday in Born Yesterday. Jill might actually have done it.

Instead she's chosen for a rub out and Bronson is the Phoenix City detective who travels to Switzerland to get her back and into protective custody. He's a by the book cop, until the end when he evolves into his Death Wish character.

Love and Bullets said to say can't really make its mind up whether it's a straight action/adventure or satire of same. Indecision costs it many points from reviewers, but Bronson fans should like it.

I like Charles Bronson. In some film fan circles this is considered a crime, but I've learned to live with it. Ánd then there is "Love and Bullets". Considering the production values this must have been a major release in it's day. And watching the trailer you could guess why people went to the cinema for it. Seeing it in the day and age of Jason Bourne is a different story: A crook is on the phone. He calls his boss who is outside. We hear the phone ring, the boss hears it, walks into the house and after an excruciating long period of time reaches the phone. In a Matt Damon outing this scene would probably take 15 seconds, even if he had to use the 1979 model of a phone used here. Look at the geographical distance covered in the film. Bourne, Bond or any given thriller hero might cover this mileage in 2 minutes. Bronson takes about an hour. He walks, he sleeps and has to deal with Mrs Jill Bronson again. And as I've said before: she was an acting disaster. I hope their marriage was okay, she nearly ruined some Bronson movies all by herself. Lalo Schifrin's music is intriguing, but the very short motive is overused a zillion different times. But overall Charlie is okay, Rod Steiger is ridiculous (but hopefully on purpose), the scenery helps and the final scene makes you smile as you do in most classic Bronson outings. And as opposed to other reviewers: it is on DVD and has been for a long, long time through Carlton Entertainment in Europe. Sound of outdoor scenes is awful. All in all, this was the last big budget film for Bronson. It should have been slightly better. It could have been.

What's on mind… love definitely more so than bullets. The premise seems rather straight-forward, but within the context is a primarily downbeat and melancholic angle. The crime/thriller slant is pretty low-key (as the chase scenes leisurely tick along) with the main focus being on the three performances; Charles Bronson, Jill Ireland and Rod Steiger and the eventual bonds that are crafted and from that the situations that occur. Love follows on… tragedy also with guts and grit winning out.

Police detective Charlie Congers has been picked to head to Switzerland to rescue an ex-mistress of crime boss Joe Bomposa who now wants her dead. Getting her first means a chance to probably convict Bomposa, but is she as innocent as she claims to know anything of importance about his crime ring.

I'm not particularly surprised to see this Bronson outing become a forgettable title in his career that rarely sees daylight, and those who had seen it mainly want to bombard it for being tedious and bland. I didn't feel that at all. It has a very European vibe to the get-up with a stylish and almost uncommon development. Stuart Rosenberg's textured direction (who replaced John Huston) is economically surefooted, as he works with the beautifully moody and authentic European backdrops (that the compelling cinematography frames) and constructs moments of high-strung suspense. Plentiful they're not, but those few are well-executed. I just wished that the dangerous side wasn't kept in check. Writer Wendell Mayles' (the man behind 'Death Wish') minimal screenplay is simply old-fashioned and the pacing is quite relaxed. Concisely structured. but nothing surprises… well the final climaxes do come up and pinch you. Were I thought it achieved a rather powerful imprint was because of Lalo Schifran's arousing score. It was exotic, colourful and flavoured. Never did it not make some sort of impression. I would say it's up there with his inspired score for 'Dirty Harry (1971)'. He knows how to place the action or feelings on screen with music and successfully push the buttons.

A strong cast do a serviceable job. Bronson's impassively stalwart turn fits accordingly and his chemistry with an empathic Jill Ireland (his actual wife) pays dividends. She was practically in nearly every movie he made during this period. Rod Steiger puts in an outstandingly staggering performance that grows with believable weight. Henry Silva and Paul Koslo hold up well in the bad guy roles. Also featuring with fine turns are Bradford Dillman, Strother Martin, Michael V. Gazzo and Val Avery.

Three federal agencies are trying to bring stuttering gangster Rod Steiger to trial. To do that, they need to bring back his bimbo girlfriend, Jill Ireland, from Switzerland. For some reason, they can't extradite her, so they send Phoenix cop Charles Bronson to do the job. In the meantime, the mob sends a hitman after her, so she cannot testify.

With a title that suggests a Keystone comedy, it seems an odd vehicle for Bronson, but director Stuart Rosenberg - John Huston started as the director, but bowed out after shooting a few scenes - puts a lot of comedy into Miss Ireland's performance, the visuals and soundtrack. Extensive location shooting also adds some quality to this movie, making it a very watchable Bronson vehicle.