Uno sporco contratto

A paid assassin who only sleeps with prostitutes is sent to Spain to carry out an "assignment" and in the process meets a young woman. He bumps off a few victims but he's such a pro the viewer doesn't see much, if any, violence. This isn't a violent picture, though the ending will have you squirming a little as he drives a car load of people along a windy mountain road, seemingly contemplating whether to kill them all, as they beg him to slow down. James Coburn is excellent in the part, a combination womanizer/contract killer who seemingly doesn't have either the time or inclination to get involved, a classic casually immoral role in which he has an ongoing professional relationship with a prostitute played by Karen Black and later meets another sex professional in Belgium. It's almost too bad that Lee Remick's character interrupts this life of his, but she does bring out a more human and sympathetic side that confounds his supervisor, in a great part for Burgess Meredith.

James Coburn(John Cunninghman) gets very distracted when Lee Remick (Sheila Metcalfe) enters his room as a hooker and gives him plenty of action. He almost forgets about doing his final hit to retire on. This film is filled with great actors, Burgess Meredith( Ramsey Williams) who also played in Rocky 1 and Rocky 2. Karen Black (Ellen) and Sterling Hayden give excellelnt supporting roles along with Lilli Palmer(Adrianne), Lee Remick's close friend. This film cannot be ignored, it has too many veteran actors to make it an all time classic film of the late 60's.

This is by no means a suspenseful edge of your seat offering, but it is somewhat enjoyable due to the film locations and the soul searching, quasi-existential dialog that seems to question morality, or lack thereof, in so many shapes and forms. To hit or not to hit, (another human being, that is!), is one of our tiring assassin's (James Coburn) looming questions. So much for hitting others for the so called good of freedom and democracy; our lead character is finding in himself an evolution of kindness and tenderness, brought upon in no small manner by the vivacious femme fatale (Lee Remick) who slowly but surely brings into focus things our lead character has ignored all too often during the course of his existence.

The plot works its way to a mainly Mediterranean and European base of operations and the entire cast seems to have fun in throwing their metaphorical two cents worth of philosophical rambling. Lili Palmer, Burgess Meredith and Sterling Hayden provide the best lines of the supporting crew and all provide our lead actor with plenty of set-up lines for his consumption and subsequent reaction.

Not a great movie, but a fun glimpse into a sample of the film making mode of the latter 60's. In short, a nice hour and forty-five minute escapist period piece, indeed!!

I'm assuming the comments I read on this site were written by horny guys - the accolades to Lee Remick's beauty take up most of the comments. She is absolutely gorgeous and sexy in this movie, and I agree, she's the main reason to see this film.

James Coburn has a "Hard Contract" in this 1969 film about a top hit man, John Cunningham, who's sent to Europe by his boss Ramsey (Burgess Meredith) to kill three people, one of whom, Michael Carlson (Sterling Hayden) was his predecessor in the job.

Cummingham is a man completely detached from human emotion; he only pays for sex, won't kiss, and won't let a woman spend the night. While in Europe, he meets a beautiful woman, Sheila Metcalfe (the afore - and oft-mentioned - Remick) and her group of friends, including Adrianne (Lilli Palmer) and an ex-Nazi.

Sheila falls for Cummingham, the rest of the group adopts him, and before Cunningham knows it, he's become, for the first time, part of the human race. Carlson knows what he's there for immediately, and the two have a confrontation. Cunningham has started to realize there's something in the world besides killing.

This movie makes a great effort to be deep. It doesn't really know what it is; it lacks a point of view, but it does convey a message. Some of it is kind of cryptic. I actually thought there were lines of dialogue missing from the version I saw.

Coburn is very good as a man who finally realizes he can't avoid living; Remick as an outrageous, adventurous socialite gives a wonderful performance; Palmer as her dizzy friend is delightful.

Hayden, never a favorite of mine, was an unusual man in real life, and I think what made him special as a person comes through here. The retired hit man is one who thought a good deal about the meaning of life, as did Hayden, and found peace within himself.

Hayden, after his forays into Communism, his guilt over cooperating with the committee, and his basically going out to sea and writing, did the same thing. Karen Black has a small role as a prostitute in the beginning of the film.

A really wonderful cast, an uneven film, a kind of blah ending - still worth seeing for Remick and Coburn in their primes.

Ponderous? At times. Pretentious? Sure, a little. But what a strange, sumptuous, utterly hypnotic experience this is. I haven't seen all that many from this time period but it is quite unlike anything else I can think of. There are stylistic similarities to Nicholas Roeg I guess, with intentionally disorienting editing and jarring perspectives, but that's about all that comes to mind. And perhaps Richard Rush's great "THE STUNT MAN". The seamless, fluid dissolves are what stick with me the most; just the way cryptic little bits of dialogue evaporate at the end of one scene and haunt the next. The movie has an elusive, swirling quality; watching it you sometimes have the feeling that you are weightless and that this is a vision of some afterlife or parallel world.

It's really driving at something, this film. Its many enigmatic characters are constantly circling each other, digging, trying to figure out what makes them tick, whether or not they're one of "them" or one of "us". Made in 1969, I think the film is an understandably confused, troubled reaction to what was undoubtedly an incredibly turbulent decade. Its biggest fear is that terror and violence have become so commonplace they are no longer the exclusive property of evil. "Good" may use them too in steadily increasing proportions, and soon the two are indistinguishable. But there is also a sense of some small hope here, a chance for redemption, rebirth. James Coburn's last bitten off words echo chillingly as the credits roll: "Watch And See. Watch And See".