Ein Mann nimmt Rache

Who knew that someone's hanging mashed-up ear could be so hypnotic. After "WALKING TALL", director (Phil Karlson), writer (Mort Brisken) and star actor would reunite again two years later for another beat 'em up, payback crime thriller "FRAMED". Stalwart star Joe Don Baker eases into the role before going on his dogged and calculative rampage. A Tennessee gambler who just happened to score big, later that night unwittingly kills a sheriff under unusual circumstances. His money disappears, it looks like the girlfriend stops caring and he has no choice but to take the plea deal. He spends four years in jail, before getting out on parole thanks to connections inside and returns to wreak havoc on those who framed him. The hard-nosed plot plays out in the same vein as "The Count of Monte Cristo" with pulp noir touches. The mystery of who's behind the corruption is no surprise for the viewer and it's never meant to be, but it's all about trying to unlock the truth of why the set-up. While it's not as action-packed, you do grit your teeth when it does come to blows by feeling the pain and enduring the sweat of some of these nasty encounters and ear splitting yelling. There are two memorable exchanges though that aren't violent, but it's the ballsy banter between Baker and H.B Haggerty that highly amuses. Then there's that train sequence.... wow! A great supporting ensemble cast and location shooting also add immensely to the hardy entertainment.

I had seen Framed a couple of times back in the mid 1970s, and I remembered it as a solid drive-in revenge drama on a par with its companion piece, the original 'Walking Tall.' After just watching it again, I have to say I am stunned at how good it really is. It's well acted (the female lead, Conny Van Dyke is perhaps a little weak), tightly scripted with realistic dialog and believable action, and briskly paced. It contains a slew of potentially stock characters, including several corrupt police and political officials, a mafia boss and one of his henchmen, a single honest African-American policeman, and some Southern redneck hoodlums. Still, instead of appearing flat and contrived, they all manage to seem distinct, well-enough rounded, and logically consistent with their context in the story. The direction is totally professional but as straightforward and simple as the story it's telling. It's like the best TV movie you've ever seen with a moderate amount of profanity and a few scenes of ultra-realistic violence thrown in. Altogether, the effect is a kind of realism that can sometimes be mistaken as amateurish but will in fact stand up to some serious scrutiny. It may not have the glossy sheen of a big-budget Hollywood thriller, but Framed also avoids the plot holes, caricatures, and over the top stunts that weaken so many of them. That's not to say it lacks for action. There's plenty of mayhem and bloodshed and even an actual train wreck. And if you like to see the good and bad guys get what's coming to them, Framed will definitely deliver. In short, Framed is a damned good movie, and I highly recommend it to anyone who likes action flicks.

"Framed" (1975) was legendary film noir director Phil Karlson's first film after the gargantuan success of his 1973 biopic of Tennessee Sheriff Buford Pusser, "Walking Tall." In "Framed", Karlson continues the theme of revenge which has dominated his body of work since the early 1950's. His masterpieces include "Scandal Sheet" (1952), "Kansas City Confidential" (1953) and, of course, "The Phenix City Story" (1955). "Phenix City" is a fact based biopic, along the lines of "Walking Tall", about the murder of the Attorney General Elect of the State of Alabama. Long considered Karlson's greatest achievement, it was made prior to the sentencing of those involved in the AG's murder, and greatly affected the outcome of their trial. "Framed", compares well to Karlson's best works. Karlson always worked on a limited budget. Like Samuel Fuller and Don Siegel, Karlson was a talented and resourceful filmmaker whose films are often more than they seem. On the surface, Karlson's films appear to be violent exploitation pieces; but, they are much more. Each of Karlson's efforts, particularly the ones mentioned here, are morality plays. Their protagonist is usually a morally just man who wanders too close to immorality, and pays a price. Gambling is often featured as the tempting vice in Karlson's films and "Framed" is no exception. Joe Don Baker, a remarkable and underrated actor, stars here as a small time gambler who owns a bar with his girlfriend, Connie Smith. Following a successful out of town game, Baker is robbed by an unknown assailant and then nearly killed (in one of the most graphic scenes in any Karlson film) by a crooked Deputy Sheriff responding to the scene. In self-defense, Baker kills the officer. Proving once again that there is corruption at every level of the legal system, Baker is sent to prison by a corrupt District Attorney, a corrupt Judge and a corrupt attorney. There's even corruption at a higher level that will ultimately be revealed. While in prison, Baker meets a powerful mob figure (a fine supporting performance by John Marley), and thereby sets in motion his revenge. Vigilante justice is often also a theme of director Karlson. With or without a badge, Karlson's protagonists carry out true justice in spite of the law, while gaining revenge for themselves. They are ultimately heroes because they can be seen as protectors of "the little people" who are downtrodden by the corrupt hierarchy. "Framed" also contains another Karlson trademark: promotion of racial equality. Karlson's films contain some of the most powerfully accurate portraits of racial prejudice along with black characters who are thoughtful and intelligent. Brock Peters, a fine actor, is very good as a deputy who comes to Baker's aid. What other filmmaker, appealing to a largely white southern audience--well, yes, a predominately "redneck" audience--would have had the courage to feature such characters in his films. An intelligent study of Karlson's body of work is long overdue, and "Framed" should be part of that study. It is entertaining and has something to say about our society. It is expertly directed and the performances are above par. If you are looking for an exciting, action packed film with something extra, look no further than "Framed."

A Tennessee gambler (Joe Don Baker) who also runs a bar accidentally kills a sheriff in an act of self defence and is sent to prison for a long stretch. When he is eventually released early on parole he realises that he was set up and goes after those responsible to exact his revenge.

A very 1970s violent neo-noir small thriller with many violent set pieces. It was made by the team and lead actor who had made WALKING TALL in 1973. Director Phil Karlson was a veteran of tough hardboiled crime, gangster and action films and was allowed to go full force here.

FRAMED is an exceptional action film. Unfortunately it is not well-known, which is odd considering that it was directed by the great Phil Karlson, who also directed the previous year's WALKING TALL, which was a major hit that launched star Joe Don Baker's acting career.

Baker stars as Ron, a bar owner with a passion for gambling at poker. He's also passionate about his gorgeous girlfriend Susan (Conny Van Dyke), who sings frequently for his bar patrons. Ron scores big at a high stakes poker game, but his thrills are short-lived when, during his drive home that night, he witnesses a seemingly victimless shoot-out. When he arrives home, a sheriff's deputy accosts him in his garage and tries to arrest him without citing any charges. Ron and the deputy duke it out (a disturbing and exceptionally well-staged fight scene), leading to Ron being charged and convicted, not for the altercation with the deputy but for supposedly killing someone in the shoot-out he witnessed. Before he knows it, he's in prison, where he befriends a jailed mob boss (John Marley) and concocts his revenge strategy for when he gets out. Upon his eventual release, he sets out on his investigation, looking to uncover the truth about his wrongful conviction and punish those responsible.

Director Karlson, who was mostly known for his many outstanding film noir efforts (e.g. KANSAS CITY CONFIDENTIAL and THE PHENIX CITY STORY), directs this - his final film - with a tough, gritty edge. It's a neo-noir, to be sure, with a protagonist who is strong, intelligent and furious. Baker gives one of his finest performances, proving yet again that he could carry a film with his charisma, everyman qualities and undeniable acting skill. The movie's violence is graphic and hard-hitting, earning its R rating with ease, so fans of violent action cinema will likely derive much satisfaction from this one. If you gravitate toward movies of this type, you'll definitely want to seek out FRAMED.