The Grissom Gang

Man, is this an early 70's movie or what?? Made around the time realistic brutality and violence were embraced, this film makes sure you embrace it too. The camera stays on the murder victims for a long period of time and makes sure the blood is red, REALLY red. Machine gun riddled bodies litter this fun mess of a movie. At the height of Kim Darby's fame, she gives it her all, desperately trying to make ridiculously written scenes work with Scott Wilson, who chews up the garishly decorated scenery. (Wilson's work with Robert Blake in IN Cold Blood still ranks as some of the finest in American film). The actress playing Ma is so over-the-top you gotta love it. It lookslike she was directed with Think Bette Davis!! She snarls, whoops, shouts, I even think they give her a moustache. And boy do they sweat in this movie. The lighting is designed to bring it out and everybody sweats. The cops sweat, the gangsters sweat, the stoolies sweat, even Connie Stevens sweats!

Given its considerable reputation, it seems incredible to me that I've had this film on VHS for over a decade but only now have I gotten round to watching it! Actually, I opted to have a go at it finally after having just watched another James Hadley Chase adaptation - CRIME ON A SUMMER MORNING (1965) - the previous day...but also because, distressingly, many VHS tapes I've had for a very long time are starting to rot on me!!

Made in the wake of the gangster-film revival spawned by the runaway success of BONNIE AND CLYDE (1967), it can also be seen as a companion piece to Roger Corman's BLOODY MAMA (1970). The film was much criticized at the time for its violence - coming in what is perhaps the cinema's most notorious year, with the likes of A CLOCKWORK ORANGE, THE DEVILS, DIRTY HARRY, GET CARTER and STRAW DOGS! - but its gallery of grotesques is at least just as disagreeable!! It doesn't really have any sympathetic characters, but "The Grissom Gang" itself is such a lurid menagerie of harridans, dimwits and sleazeballs that one would doubtless need a shower after having spent two hours in this company! For what it's worth, the film is extremely well made (compelling, richly-detailed, exceptionally acted) and even very funny if one is attuned to the director's uniquely absurdist and delirious mind-set.

Still, its general unwholesomeness may well have curtailed Kim Darby's cinematic career - though here she demonstrates remarkable maturity when compared to her fresh-faced sparring with John Wayne in TRUE GRIT (1969). Scott Wilson's role is perhaps the best he ever had (even keeping in mind his impeccable work in both IN COLD BLOOD [1967] and THE NINTH CONFIGURATION [1980]) - though his dumb backwoods hoodlum, alternating between mother-fixation and drooling over Darby, eventually overstays its welcome. Irene Dailey's relentlessly overwrought performance as Ma Grissom (needless to say, the actress' most significant role), then, borders on camp and matches Shelley Winters in BLOODY MAMA. Tony Musante embodies the stylish side of crime with his chic attire and playboy ways, who's bound to clash with Wilson over attractive kidnapped heiress Darby. Also notable in the cast are Connie Stevens as Musante's ill-fated moll, Robert Lansing as the journalist investigating the kidnapping case and Wesley Addy as Darby's contemptuous father (who considers her 'tainted' by the experience and actually doesn't want her back!).

The finale, then, with the majority of the gang decimated at their hide-out - followed by Wilson's come-uppance outside a barn (after having spent the night with Darby for the last time) is appropriately vivid. By the way, the novel on which this is based had been filmed in Britain in 1948 under its original title, "No Orchids For Miss Blandish", but that version is only remembered - if at all - for how bad it actually was!

If a movie deserves the definition of hard-boiled, this is "Grissom Gang". The characters seem to know just a way to face any problem, either major or minor: kill, kill, kill. The setting in the rural, poor Midwest in the years of Depression is both evocative and grinding: it gives the audience a feeling of bleakness and unavoidable violence. The story is carefully constructed, exciting, full of suspense. The characters are very well shaped, much care is given to details. The direction by Aldrich is superb: the action scenes are beautifully filmed, the timing is admirable. In the development of the plot we don't find those failures of strain, digressions and intervals of bore which were so common in the movies of those years, under pretension of style. All the actors' performances are outstanding. Scott Wilson draws, with masterly acting, the extraordinary character of Slim Grissom. At first, he seems just a half-witted hooligan, but we quickly realize that he is the toughest of them all, looking at other characters' behavior: they are all scared of him, even his gang mates. Actually, the smart gangster Tony Musante seems to take fun in teasing the stupid Slim: but it is clear that this is by no means a good idea. Wilson's acting gives likelihood to Grissom's possessive, infantile, somewhat touching love for Miss Blandish (Kim Darby). He states that, to save her, he is ready to kill his own mother: we have already learned to never underestimate his words. Kim Darby deserves a special mention, in the role of the spoiled girl who learns to survive at all costs, sexual abuse included. She is great here, she was extraordinary in "True Grit": I wonder why she didn't become a major Hollywood star. Despite some minor faults, "Grissom Gang" is excellent, by far better, in my opinion, of other celebrated movies of the same rural-America-gangster genre, such as Penn's "Bonnie and Clyde", Altman's "Thieves like us", Corman's "Bloody Mama".

This little gem of a film was treated as exploitation trash, but a fascinating kidnapping tale with unrequited love and dysfunctional family relations. Scott Wilson (so brilliant in In Cold Blood) is incredible as Slim, the lonely offbeat member of the gang who is somewhat understood (but very edgy). Throw in Kim Darby, Tony Musante, Irene Dailey (more demented than she was in Five Easy Pieces), and Joey Faye as Woppy, how wrong can you go?

There's a good sense of time period. This film is nothing compared to Bonnie and Clyde, but closer to Thieves Like Us. Connie Stevens is an added attraction. Give these folks a chance. Rated 7 out of 10.

a better Patty Hearst movie than the ones actually made about Patty Hearst. not quite up there with the likes of Bonnie and Clyde and Thieves Like Us, but definitely worth seeing as an example of the 1970's ambivalence about anti-social characters and crime. the reviews make quite a big deal about the violence but you will hardly notice it--a great deal of shooting, some of that orange glop they used in the 1970s, but hardly emotionally wrenching like, say, The Wild Bunch or Texas Chainsaw Massacre...great performance by Scott Wilson who shows up on TV a lot these days.