The Hit - Die Profi-Killer

Two hit men go to Spain and pick up a fellow crook who went into hiding years before. They are suppose to drive him back to Paris, however as they hit the road, it quickly becomes clear that things are not what they seem and that the hit men are in for more than they ever bargained for.

Tightly plotted and neat little thriller that works thanks to its three stars. Terrence Stamp kicked his career into high gear once more with his turn as the man hauled off for execution. So calm in the face of death its almost unnerving and its not hard to see how he can begin to play his captors like a violin. John Hurt and Tim Roth are his equal as the two hit men who never saw what they were walking into. This is ensemble acting at its finest.

This is a great little film. Its worth seeking out.

Before Diving into this film... And I honestly feel it deserves a DEEP DIVE....

But FIRST: Let Us FOCUS on this TITLE´s CONTENT & CONTEXT:

Sometimes things don't work out as expected. Sometimes a little reflection helps put things in perspective. The review you're reading now is vastly different from the one I sat down to write last night. The Hit seemed to have betrayed itself and short-changed the viewer by radically violating the principals set down throughout the course of the film. But that was last night. Today, at lunch, I "got it"! Last night you were getting the 2.75* Review. Luckily, patience and a little reflection, seem to have paid off: Today you're getting the 4.25* Deluxe Version! Willie Parker (Terence Stamp) is a former criminal who has had years to reflect on his life and on life, and death, in general. He has taken up reading books on philosophy, books on history, poetry, psychology and pretty much anything he can lay his hands on. Being a man in his 40's, he strikes one as a little young to be retired. Well, He isn't! Willie is living in rural Spain in the European Union's version of the Witness Protection Program; seeing as how he ratted out his buddies back in England 10 years earlier. Surprisingly, they didn't seem to buy Willie's explanation that "He had seen the light & it felt like the right thing to do". Willie's day of reckoning comes when his ex-blokes have him kidnapped and brought to justice, E. U. Mafia style. Throughout his entire ordeal, Willie looks more like someone going on a picnic than a guy who's about to decorate the wall with his brains. His captors, an icy jaded pro (John Hurt) and his hapless, hot-tempered apprentice (Tim Roth, in a breakthrough role) stand incredulous before Willie's apparent calm & indifference to his plight. Remember how SNL's Rosanna Rosanadana used to say..."It's always SOMETHING!" Well, in the course of transporting their victim to the slaughter, it's one constant "Something" after another. When The Hit is over (assuming you "get it") you'll have a slight smile on your face and a twinkle in your eye...just like the icy hit man's!

Forget the flashy but empty "cor blimey guv" Brit crime movies of the last few years like 'Snatch' and 'Sexy Beast'. Apart from 'Croupier' and 'Gangster No. 1', most of them aren't worthy of being mentioned in the same breath as the brilliant but largely forgotten 'The Long Good Friday', 'Mona Lisa', and the most underrated of all, 'The Hit'. Terence Stamp, playing a character not too dissimilar from the one he later portrays in 'The Limey', is a former gangster who grassed up his criminal mates years earlier. Now living in semi-retirement in Spain he is unexpectedly kidnapped by two hoods (John Hurt and, in one of his earliest screen roles, Tim Roth) who plan on taking him to Paris and killing him as punishment for betraying the criminal code. Of course, things don't go quite as planned and along the way the sexy Laura del Sol gets forced against her will to accompany them. This is a very fresh and interesting film that is more character than action based so might not appeal to the Guy Ritchie crowd. It's their loss. Stamp is just brilliant and his interaction with Hurt and Roth makes this a must see movie. The supporting cast also includes the legendary Fernando Rey ('The French Connection') as the cop on their trail, and Aussie veteran Bill Hunter as a crim in the wrong place at the wrong time. 'The Hit' is one of the most overlooked British movies of the last twenty years, and highly recommend viewing for all discerning movie buffs.

Ten years ago Willie Parker testified in court against some of his criminal buddies and ever since then, has been waiting for them to settle the score while hiding out in Spain. Soon enough his tracked down by two hit men, the slick professional Braddock and his raw rookie Myron. Who plan to take him back to Paris to meet up with those he done in, but on their trip there they stop off at a Madrid apartment that includes an unplanned kidnapping of a young Spanish girl, Maggie. Through the trip Parker's pondering manner starts getting on the pairs' nerves and the feisty Maggie makes matters even worse. Nothing is truly going to plan with these constant distractions and the Spanish police are hot on their trail.

I wasn't expecting to like "The Hit" as much as I did. But came away really enjoying and thinking highly of this oddity, after knowing nothing about it to begin with. It was neat blind purchase (well, it only cost $2), which really did pay off. This colourfully kooky British crime feature has a premise that likes play mind games by breezily building upon the animated characters and random situations they find themselves stuck in. It's about them finding their feet and coming to terms that death might be around the corner. Nothing to fear in something you shouldn't be afraid off. Peter Prince's tautly fleshed out script has real sensitivity about it and goes down well with the simple road trip storyline. While rather talkative, the dialogue driven outing has a lyrically deeper underbelly, where personalities clash with amusingly engaging and wittily sly results. Action is little, but it doesn't suffer from it and when it unfold, its intensely drawn up. Director Stephen Frears paints a poetically subdued feel to it with such freshly assured and suave direction. He truly sets up some beautiful visions without losing any of that brutal edge when called for (the surprising climax takes the cake). Mick Molloy's fetchingly sublime photography-work incorporates the alluringly picturesque backdrop of Spain with elegant scope. He even frames diverse scenes with inspired shots that have you in awe. Eric Clapton plugs away for the sweepingly airy opening title and Paco de Lucia stirringly upbeat Spanish flavour to the music score kicks up the energy levels and unpredictable vibe. The technical side of the production is pretty top-draw and sufficiently done. The performances are all marvellous in crafting out their characters and feeding off each other with believable chemistry. An outstandingly novel John Hurt plays the professionally cool, tough as nails hit-man Braddock with such cold venom. Character actor Tim Roth (in his film debut) is brilliant in a total opposite persona as a young clueless, hot-wired rookie Myron getting a little too attached to their captivates. Terence Stamp stands-out in his turn of the lively accepting Willie Parker, who throws up some words of wisdom along the way and strangely becomes fixated with his closing destiny. Laura del Sol dashingly fine as the strong willed Maggie who adds the sparks. Also showing up in short, but potent roles is Aussie actor Bill Hunter and Fernando Rey playing an officer closing on their tails.

"The Hit" is a focused, well thought-out production that I believe to be perfect across the board. Some people might find it to lead nowhere, but seductively enterprising is what comes to my mind.

Stephen Frears' highly original talent was evident in his first feature 'Gumshoe' from 1971. After thirteen years in the confining world of Television he has again been granted the opportunity of stretching his legs on the wider screen. Although not a palpable 'hit' when first released its merits have since come to be appreciated in retrospect as Frears' subsequent reputation as an accomplished filmmaker has been firmly established.

The plot here is pretty basic but Frears' skilful direction of his players, Peter Prince's sparse but loaded dialogue and Mick Audsley's taut editing have given us a tense, well constructed piece in which the dynamics between the four main characters are constantly shifting and our initial impressions of them are totally subverted as the film progresses. The landscape plays an active role and this, together with Paco de Lucia's score, gives this film the feel of a latter day Western.

Superlative John Hurt hasn't been required to learn many lines but his silences speak volumes and Tim Roth makes an assured screen debut whilst Terence Stamp has one of his best roles and one which enables him to exhibit a rarely seen comic edge. Sultry Laura Del Sol had made quite an impression in Saura's flamenco version of 'Carmen' the previous year and her transition here from eye candy to spitfire is extremely effective.

To say that Mr. Frears has gone from strength to strength would be an understatement and he now indisputably belongs to the select group that comprises truly world class British directors, the rest of whom are deceased.