Charley Varrick steals a page out of Sun Tzu's playbook--film review!

Charley Varrick is a 1973 heist thriller by director Don Siegel based on the 1968 novel The Looters by John H. Reese. 

The film stars Walter Matthau as Charley Varrick, a former stunt-pilot and crop-duster who resorts to a life of petty bank robberies but bites off more than he can chew when a $750,000.00 haul out of a small New Mexico bank turns out to be mob money. Andrew Robinson, John Vernon, Felicia Farr, Norman Fell, and Joe Don Baker round out the cast. Although the film was well received by American film reviewers, with one reviewer--Paul Tatara--calling it “intelligent, commercial filmmaking at its finest,” the film didn’t win any awards stateside. But in 1974, The British Academy of Film and Television Arts gave Matthau its Best Actor award and nominated Frank Morris for his editing on the film.

Charley Varrick begins in Tres Cruces, New Mexico where a yellow Lincoln pulls up in front of a small bank. A sherif’s deputy is nearby and tells the middle aged couple in the car that they can’t park in front of the bank. Charley Varrick is disguised as a much older man and has a fake cast on his leg. His wife is behind the wheel and they put on a fake argument for the cop after she offers to cash the check and he insists on cashing it himself. The cop leaves and doubles back to the bank after running the stolen license plates on the Lincoln. Meanwhile, all hell breaks loose in the bank as Charley and his 2 accomplices exchange gunfire with the guards. The sheriffs deputies arrive on the scene and when they approach the Lincoln to question Nadine she shoots and kills a deputy, wounds the other, and takes a shot herself through her door.

Charley returns to the Lincoln with 1 accomplice; the other accomplice was shot and killed by a guard. The Lincoln speeds away and at a remote location, Charley and Harman Sullivan load the bags of stolen money into large drums inside of Charley’s crop dusting van. Nadine dies from her gunshot wound. Charley kisses her goodbye and rigs the car with explosives.

They go back to Charley’s trailer home and count the loot. Charley used to be a stunt-flyer at shows; his wife worked with him. Then, he became a crop-duster. When the combines put him out of business he decided to rob banks, small banks, a thousand or 2 here and there, nothing big. Charley looks down at the pile of money on the floor of his trailer--$50 and $100 stacks. Why would a small bank like that be holding this much money? He turns on the TV news and gets his answer: the bank reported it had been robbed of only $1500.00 and there was a quarter mil cash on his floor--they’d stolen mob money! Charley is cautious but Harman is much younger and very impatient. Charley wants to wait a few years for the heat to die down before spending any of the money. But Harman wants the good life, beautiful chicks, fancy restaurants, nice clothes and not even Charley was going to stop it from happening--right now! With a nod and a mysterious smile, Charley agrees to go along with Harman.

Charley Varrick is a pretty straightforward film; even so, there are Machiavellian lessons in it that are worth a mention, like the importance of thinking ahead; being careful in whom you place your trust in; the value in being decisive, and knowing when to keep your mouth shut. Sun Tzu, The Art of War Chapter 1. Laying Plans:

Hence, when able to attack, we must seem unable; when using our forces, we must seem inactive; when we are near, we must make the enemy believe we are far away; when far away, we must make him believe we are near.

And also from Chapter 7. Maneuvering:

Let your plans be dark and impenetrable as night, and when you move, fall like a thunderbolt.

The 1st lesson in Charley Varrick is thinking ahead. Art of War Chapter 9. The Army on the March:

If forced to fight in a salt-marsh, you should have water and grass near you, and get your back to a clump of trees. So much for operations in salt-marches.

Charley is older, experienced, and wise. Made his share of mistakes as a younger man, the main mistake being that of not thinking ahead and planning his future instead of robbing small banks. Old men can afford fewer mistakes than young men. Recklessness almost got him killed in the stunt plane--as a younger man--and he isn’t about to let Harman’s impatience get him killed by the mafia at this late stage of his life. No way!

The 2nd lesson in the film is to not trust anybody. Art of War Chapter 8. Variation of Tactics:

The art of war teaches us to rely not on the likelihood of the enemy's not coming, but on our own readiness to receive him; not on the chance of his not attacking, but rather on the fact that we have made our position unassailable.

Charley knows that the world is about money, not loyalty. Any man that you pay for anything will always sell to the highest bidder. Charley pays $600 to Tom at the gun shop knowing in advance that the man will give him up to the hit man named Molly for a price. Charley also knows that Jewell, the photographer, will sell him out; for this reason, he gives her Harman’s picture to get Molly to kill Harman preemptively after the dummy threatened his life. Also, when Charley sets up the meeting in the wrecking yard he knows that Molly is an opportunist and that he works for Maynard but Maynard works for the mob who are willing to pay extra to find out if the bank robbery was an inside job. For this reason, Charley does a flyover and spots Molly’s car among the wrecks just as he suspected he would but Molly doesn’t know that Charley, again, has a backup plan with a little help from Maynard’s own secretary.

The 3rd lesson from the movie is speed, moving fast, being decisive. Art of War Chapter 11. The Nine Situations:

Rapidity is the essence of war: take advantage of the enemy's unreadiness, make your way by unexpected routes, and attack unguarded spots.

Once Harman plays his hand and issues his threat, Charley goes into motion right away, moves the stolen money out of the trailer, stops by the dentist office to exchange his records with Harman’s, and sets the man up to be killed by Molly.

The 4th lesson from the film is deception. Art of War Chapter 4. Tactical Dispositions:

The general who is skilled in defense hides in the most secret recesses of the earth; he who is skilled in attack flashes forth from the topmost heights of heaven. Thus on the one hand we have ability to protect ourselves; on the other, a victory that is complete.

Also, Chapter 1, Laying Plans:

Pretend to be weak, that he--your enemy--may grow arrogant.

When Harman threatens Charley, Charley goes along as though nothing happened, pretending to be looking out for both of their interests, and going out of his way to earn Harman’s trust by reassurances, all the while setting Harman up for the kill. Art of War Chapter 11. The Nine Situations:

Success in warfare is gained by carefully accommodating ourselves to the enemy's purpose.
At first, then, exhibit the coyness of a maiden, until the enemy gives you an opening; afterwards emulate the rapidity of a running hare, and it will be too late for the enemy to oppose you.

Charley then delivers flowers to Maynard’s secretary, follows her home, and seduces her. After they make love, Ms. Fort tells Charley not to trust her boss, Mr. Maynard. The Art of War Chapter 2. Waging War:

Captured soldiers should be kindly treated and kept.

Also, Chapter 13, The Use of Spies:

Knowledge of the enemy's dispositions can only be obtained from other men.

Charley Varrick is one tight film, like all of Don Siegel’s films--lean, mean, and under 2 hours, every minute of which is completely entertaining with action, intrigue, intelligence and quite a bit of humor. The main stars of the film are Matthau and Joe Don (Walking Tall) Baker as Molly, a swaggering no-nonsense hitman that likes his eggs over easy, dry wheat toast, tea with honey, and most importantly--no whores! Charley Varrick fits Matthau perfectly as the cold calculating elder statesman to Andrew Robinson’s rash impulsive Hartman. And, actor John Vernon is also perfectly cast as the bank president out to cover his ass after losing the mob’s money.

Charley Varrick is one tight film, like all of Don Siegel’s films--lean, mean, and under 2 hours, every minute of which is completely entertaining with action, intrigue, intelligence and quite a bit of humor. The main stars of the film are Matthau and Joe Don (Walking Tall) Baker as Molly, a swaggering no-nonsense hitman that likes his eggs over easy, dry wheat toast, tea with honey, and most importantly--no whores! Charley Varrick fits Matthau perfectly as the cold calculating elder statesman to Andrew Robinson’s rash impulsive Harman. And, actor John Vernon is also perfectly cast as the bank president out to cover his ass after losing the mob’s money.

I have a couple of favorite scenes. One involves Molly repossessing the car from the brother; the other scene involves Molly and the one-legged dude named Tom that owns the gun shop. There is also a great title sequence at the beginning that’s like a retrospective on the days when things were much simpler. This is a great Don Siegel primer for those who haven’t seen any of his films, or may have seen without being aware of it.

Peeping Tom--a review and analysis of the 1960 film shocker by Michael Powell

Peeping Tom is a 1960 British thriller directed by Michael Powell who, along with longtime collaborator Emeric Pressburger--under the name of their production company, The Archers--co-wrote and co-directed The 49th Parallel, Black Narcissus, and The Red Shoes. 

In Peeping Tom, an insecure and withdrawn photographer named Mark gets his kicks by filming the women that he kills. The story and script are by Leo Marks, the cinematography is by Otto Heller, the editing is by Noreen Ackland, and the music is by Brian Easdale. The all British cast includes Carl Boehm, Moira Shearer, Anna Massey, Maxine Audley, and Pamela Green. Peeping Tom was controversial in its day, had a detrimental effect on Michael Powell’s career in the U.K, and was also cited by the National League of Decency as morally objectionable for its depictions of voyeurism and sadism.

Mark is a loner and has no friends except for his camera which he takes with him everywhere he goes. In the opening scene, he films a prostitute while murdering her.

Mark owns an apartment building that he inherited from his father. One day, he invites a tenant--a young woman named Helen--into his apartment and shows her home movies of his childhood. His father liked to photograph him sleeping and would put lizards in his bed to scare him. His father also liked to spy on people and film them with his camera. He even bought Mark a camera for his birthday. Helen is creeped out by his father but she is naive and too fascinated with Mark to suspect him of being like his father.

Mark has a studio above a magazine shop where he takes pictures of naked models. He also has a job as an assistant photographer on a movie set; his goal is to one day be a film director. One night, Mark and an aspiring actress named Vivian sneak onto the film set to shoot their own movie. Mark instructs Vivian to act afraid for a close-up shot and when she can’t, he shows her the spike on the leg of his camera tripod and kills her.

Helen lives with her blind mother, Ms. Stevenson, whose other senses are heightened and she knows that something is not right with Mark despite his normal appearance. She orders him to stay away from her daughter.

Vivian’s body is discovered on the movie set inside of a large trunk and Mark becomes the police inspector’s main suspect. With time running out, Mark turns his attention to completing the film documentary that his father originally started.

Peeping Tom takes acting to its logical extreme by comparing Mark and his victims with the bad actress of the film within this film called The Walls are Closing in. Where the film’s director cannot get this actress to act real, Mark gets his victims to act real through the use of fear.

The difference between the actress on the film set and Mark’s victims are that artificial--or vicarious--experiences can never be a true substitute for real experiences. The old man who buys the pictures of naked women in the store is not getting a real woman and any stimulation he gets from masturbating won’t give him the same experience as a real-live woman, either. As the nude pictures are to the old man so is murdering women and witnessing their horror on film are to Mark--an autoerotic experience to be relived and enjoyed each time he wishes to play these films in the privacy of his home.

This symbolic contrast in how we respond to indirect stimulation and direct stimulation is clearly illustrated by the actress on the film set who can’t generate the real emotions the director wants; however, upon seeing Vivian’s dead body in the trunk, the same actress has no trouble generating real emotions. Also, in the scene where Mark and Vivian are on the film set alone and he instructs her to act scared, she tells him that she can’t act scared because she feels relaxed with him. But when he shows her his true colors and closes in for the kill, Vivian gives him the performance of her life because she is reacting to something that is real!

This metaphor of autoeroticism as it pertains to acting and realism also explains why the film ends the way that it does with Mark killing himself in the same manner that he killed his victims. Again, using the old man in the store buying pictures of naked women as an analogy, Mark experiences the agony of his victims vicariously as a form of masturbation. To get the experience firsthand--as someone going from porn to the real thing--Mark impales himself with the weapon he murdered his victims with.

Peeping Tom reminds me of Reservoir Dogs. Like Mr. PInk, Ms. Stevenson’s intuition is more reliable than her ability to see. There are no graphic scenes in the film, not even the sight of blood, and no nudity. Unlike movies today, the film’s real horror occurs within your imagination. Again, Criterion did a great job. I have the DVD and the picture and sound are terrific. If you like Psycho you will probably like Peeping Tom. I know I did.