Entre el deseo y la muerte

For some reason this film which used to be shown frequently on TV in the 70s and early 80s has not been available for years until just recently. I saw it in theater and innumerable times on television, but only once again just now.

Kirk Douglas stars in this drama/mystery in which he recycles his tough cop from Detective Story. Unlike his character there whose penchant for violence was thoroughly explored, his cop in this film is just as violent without the issues. After beating some out of town hoods who probably deserved it, Douglas quits the force after complaints of police brutality. Even Dirty Harry Callahan didn't do that. But in terms of violence this film was only a hint of what was to come.

Eli Wallach playing a mush mouth deep south criminal defense attorney who is defending lovers Sylvia Koscina and Kenneth Haigh on a murder charge, they supposedly killed Koscina's husband. One of the things I did remember distinctly from previous viewings was Wallach in his role. Eli really looks like he's enjoying himself here.

As for Kirk his job is to guard Koscina and of course he starts thinking with his male member and getting warm for her form. She maintains she really is innocent and Douglas would like to believe her and pin the whole thing on Haigh. It's his determination to nail the boyfriend that totally skewers his objectivity. Once he gets over thinking like a rival he solves the murder.

This part was no great strain on Kirk Douglas's talents, his character while a tough cop is a pale shadow of what he did in Detective Story. It's a good made for TV movie and probably should have been sent there and not even had a big screen run.

It was run a lot on TV for years.

Yes, in this typical comedy crime flick from the mid sixties, showing a cool detective, I would have bet my last shirt on George Peppard for the gumshoe role; check his filmography, Universal Studios, and also his usual characters for this period. This character should have been for him and not Kirk Douglas, what a midcast. But this isnot a crap, only a detective plot, plenty of charm and atmosphere of this unique period for the movie industry, directed by a TV director, involving rich people. Paul Newman as Harper for instance should have been the best, or why not Steve Mc Queen, though they were both too good for this kind of junk. This is too light hearted, but amusing.

I've only gotten to see this movie once but it left a pretty vivid impression on me -- a psychedelic era private eye thriller with Kirk Douglas as a cynical detective assigned to protect the sexy defendant in a murder case (sexy Giallo film regular Sylva Koscina) being defended by fast-talking Eli Wallach from being unfairly (or, not) found guilty of murdering her rich old geezer of a husband. At least, I think that's the nature of the plot, my scanty knowledge of the film demonstrated by not even having remembered that Eli Wallach was in it. He's kind of a hard film presence to forget, but since I saw the movie on the tail end of a windowpane fueled Magical Mystery Tour it's not that surprising.

In fact, it's impressive that I recall anything at all, but it was one of those instances where I had nothing better to do in the afternoon after the journey in mention and just happened to catch this on TV while slumming around our on-campus apartment. I would usually look for certain things when selecting entertainment under such circumstances, and the production year of 1968 stuck out, suggesting that there might be subtle suggestions of psychedelia, ala POINT BLANK which at the time was my alltime favorite film. I was correct.

Two moments in the film stuck with me: One during a scene were Mr. Douglas' car is forced off the road by gangster thugs who chase him into the woods, and he administrates a very effective beating onto one of the thugs, which each blow of the fist highlighted by an orchestrated crescendo. The other moment was right after Douglas' character is introduced to Koscina, who simply oozes sex appear and regards him with a sort of "come hither" look from a balcony window. Douglas' reaction is to bite heartily into an apple -- along with another orchestrated flourish -- with a gusto that was the source of a nice belly laugh.

The film has apparently never been released on home video or DVD but I remember it vividly and would love to have the chance to watch it again.

Cheesy does not even begin to describe it. Some of the most wooden acting and clunkiest dialogue I have ever experienced. It's actually like a Carry On film without the laughs. Not that Kirk Douglas has a cast-iron reputation as a discerning, talented actor, but his appearance in this is just embarrassing. Likewise Eli Wallach. Then there's this plinky-plonky music running along through many scenes, often totally at odds with the mood and images images it accompanies. Add to this some very weird editing and timing. People laugh (at things that are not remotely funny) or respond to things that are said a second too late. And I know it's of its time etc., but the women in the film are all such bimbos and doormats that even I as a man found it offensive at times. Not even "so bad it's good". Just brutal.

"A Lovely Way to Die" is a lot like Frank Sinatra's "Tony Rome" combined with "Dirty Harry" and it kind of works....sometimes. For the most part, it is a disappointment and could have been a lot better.

When the story begins, you see that Jameson Schuyler (Kirk Douglas) has two things he loves...womanizing and beating the crap out of criminals. After his latest violent arrest, he knows he's going to be disciplined...so he quits the police force. Soon after this, a hot-shot attorney (Eli Wallach) approaches Schuyler and offers him a job. He's to keep an eye on a flakey rich lady who is being indicted for murder...and do odd jobs as needed.

Schuyler is a bit of a pig, though what makes the film harder to like is that the accused woman is simply annoying. She is flaky and very inconsistently written. Considering she's on trial for murder, you'd think she'd take this seriously...which she clearly doesn't. And, because she doesn't care, the audience is inclined to feel much the same. An okay film up until the very stupid ending, and it could have easily been better.