The Nickel Ride

This is a rare example of the mob-procedural subgenre, and should be issued as a DVD. Castro Theatre in SF screened a print -- which I surmise was somewhat faded and over-purpled/sepiaed -- 18 March 2008 with Friends of Eddie Coyle (which I thought the better of the two). Audience of over 200 applauded warmly, especially Jason Miller's very fine acting. I did not have the trouble some following the plot that commenters reported, or with knowing what was paranoia (once it played out), what was actually happening. Also, Los Angeles sprawl-downtown was instantly recognizable. I also appreciated Linda Haynes' work as cootchie-dancer.

If anyone thinks the criminal life is any kind of glamorous watching The Nickel Ride will disabuse anyone of such notions. Anyone who particularly wants to enter the life of crime.

Jason Miller stars in The Nickel Ride and he's known as the key man because of the ring of keys that are 24/7 in his possession. The keys unlock several abandoned warehouses that organized crime uses to stash whatever they've stolen in various heists until it can be fenced.

The syndicate is running out of said space and Miller is supposed to close a deal involving a whole block of these warehouses for such purposes. But for whatever reason Miller can't close the deal and his bosses such as John Hillerman are getting impatient.

Probably Miller ought to just retire, but organized crime has only one kind of retirement package and that he doesn't want.

Miller's predicament is something Richard Widmark's in Night And The City. He's not the ego-maniacal hustler that Widmark was in that classic, but he's made too many commitments he can't deliver. One was that a certain fighter he knows throw a bout where syndicate money is riding. Miller doesn't and a good friend of his, the manager of said fighter Lou Frizzel is killed. A harbinger of his own future that Miller doesn't like.

The Nickel Ride is a gritty and realistic film, as downbeat as Night In The City or The Asphalt Jungle, close but not quite in their league. One should also take note of a good performance by Bo Hopkins as the button man imported from Tulsa to do Miller in.

The Nickel Ride for some reason disappeared for years after its initial showing in theaters. Glad to see its finally out on DVD.

Astounded at the rave reviews for this confusing crime yarn. There was no semblance of a storyline. Vague character study and plot. The filmmakers created a generic storyline around a shipment of merchandise. While this film managed to keep my interest toward the middle, I still have no idea what the direct storyline was about. A middle-aged hoodlum with an office? LOL!

Not so much a review as an observation. Cooper's position seems to be as much a function of his outmoded sense of honor as any other reason. His boss speaks to the corporate nature of the "higher ups" who want results while Coop seems to have a sense of obligation to the small fry who look up to him. He "carries" thieves whose goods are clogging his warehouses when he should be taking their goods and selling them off opening space for those clamoring to get in. He refuses to force a two-bit fighter who is all but washed up to take a dive and throw his career because of a friendship with his manager. His beat down of his bosses enforcer is in defense of the "little guys" who hang on in his territory by their fingernails. Their love and respect is shown in the birthday party. This notion of Coop being driven by an out of place sense of honor is what gives the denouement its sense of inevitability. He cant change. He knows it and he knows where it will lead - certainly most clearly after his "dream."

I don't know if Jasom Miller was acting, or just being himself. His priest in The Exorcist seemed like a variation on the same character he plays here. So perhaps that's Miller's persona. He may just have an extremely intense way about him in real life that fits certain movie characters. Or he may have used technique. Either way, his intensity is always compelling.

I think the 70s was the last era when Downtown L.A. had neighborhood bars frequented by white working class men and people knew each other. In fact the film makers were trying to portray that transition here.

My favorite aspect of the film and many others from that era, was the slowness. Because you get to see that for most people, the daily routine of life is fairly mundane. There is nothing glamorous about this protagonist's daily existence.

All jobs require paper work or daily rounds, and solving problems. All romantic relationships involve eating and sleeping, and putting up with your partner's quirks.

If this is the first time Bo Hopkins appeared in a film as a cocky cowboy criminal, than I can see why it would be interesting. He pulls the same routine in some other films shortly after this one, so it gets old. But this may be the original appearance of that character. It's effective here, because his accent and clothes are so different from everyone else's.

I agree with the other reviewers that this Linda Haynes actress was good for the role. She had a weird accent and quirky looks, and seemed just the type that a guy like "Cooper" would pick up in his world.

I really liked Cooper's back story of having been a "Carny," and the girl's background as a dancer in Vegas. But I can't figure out the age dilemma. Apparently Miller was only 35 during the filming, yet he plays a guy who is basically a dinosaur in the crime world. It's said that he got started as a "kid" 19 years ago, but certainly he wasn't 16. I picture this character pushing 50, and I think Miller himself looked much older than 35. Is his birth date on IMDb an error?

If you have patience and appreciate dark character studies, you'll like this one. But don't lose focus as the plot develops, or you will not understand what our guy does for a living.

I don't know much about camera work or music, but both seemed classically 70s in their effect. Meaning real to the bone and stylish. It worked for me.