Framed

I was finally able to see this thanks to the new Legend DVD release. Just like WALKING TALL before it, the film certainly covers a lot of ground and hits about 50 different genres including Southern revenge, police corruption, political corruption, rape-revenge, prisons, mean guards, gambling, mafia, hit men, and lounge acts. As always, Joe Don Baker is great as the rugged Southern type who seeks personal justice. In the end, the script tends to be a bit flabby and it could have been cut down by about 20 minutes though. Make sure to keep an eye out for a stunt involving a car vs. train that is insane. No way anyone in Hollywood would attempt that today!

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.

Rough, tough, gritty, I find here our good old Phil Karlson, his pure, authentic, genuine trademark, the same he gave us in the late forties and fifties, with the likes of KANSAS CITY CONFIDENTIAL or 99 RIVER STREET. Here, Joe Don Baker replaces John Payne but who cares? Till the end of his career, Karlson remains faithful to his DNA, his trademark, his lines. Of course there were some lousy films which he was obliged to make, to pay his bills and fill up the fridge. This one could be seen as a modern western, announcing ROADHOUSE (89) in the atmosphere, and after all this is the WALKING TALL sequel. Karlson's last stand and not the weakest nor the smoothest one. Some sadistic moments which are quite surprising, regarding of the cool atmosphere, sometimes cheesy, like an oater. But those gritty, grue(awe)some torture of fist fight scenes !!!! Oh my God. RIP Phil. I recognized you 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.

A rather nasty, low-budget revenge thriller starring Joe Don Baker as a high-rolling professional card-player who encounters a deputy sheriff after escaping an earlier shoot-out set-up. When he kills the cop in clear self-defence, he's quickly railroaded by the so-called justice system, which includes his own solicitor and it seems the rest of the police department, is coerced into taking the rap for the "crime" and so goes to prison. The baddies even send a couple of heavies round to Baker's nightclub-singer girlfriend to stop her background efforts to help him and in fact take this to extremes by raping her under threat of a gun.

Rather like the internee in Stevie Wonder's great contemporary song, "Living For The City", Joe Don unsurprisingly leaves prison embittered and hardened, determined to exact revenge on those who put him inside and abused his girl. While in prison, he's made a couple of useful buddies, one a crime boss with connections and the other a paid hitman, who both come in very handy later on in the proceedings.

From there, you can pretty much get out your abacus to tally up the acts of violence and body count both of which steadily accumulate. You know how these things regularly turn out and this last-man-standing scenario isn't about to offer up any surprises in that respect.

With plenty of brutal scenes of violence depicted, including an unnecessarily cruel slaying of a guard dog, I suppose we must be grateful for the small mercies of the director not going all "Straw Dogs" in the treatment of the sexual attack on the singer, but nonetheless the acting is mixed in quality, although Baker certainly projects his tough-hombre persona even, it seems, while wearing crimplene slacks and a safari jacket.

Listen, I never watched any of the "Death Wish" movies which probably inspired this and I note as a sidebar that this type of feature has sort of come back into vogue, with Liam Neeson's "Taken" movies, not to mention Denzel Washington's "Equaliser" films, but this effort is a rather cheap and nasty affair, being a lot less well acted and directed, making me wish I'd done what Baker failed to do and that is, turn the other cheek when it came up on the screen.