Open-minded architect Paul Kersey returns to New York City from vacationing with his wife, feeling on top of the world. At the office, his cynical coworker gives him the welcome-back with a warning on the rising crime rate. But Paul, a bleeding-heart liberal, thinks of crime as being caused by poverty. However his coworker's ranting proves to be more than true when Paul's wife is killed and his daughter is raped in his own apartment. The police have no reliable leads and his overly sensitive son-in-law only exacerbates Paul's feeling of hopelessness. He is now facing the reality that the police can't be everywhere at once. Out of sympathy his boss gives him an assignment in sunny Arizona where Paul gets a taste of the Old West ideals. He returns to New York with a compromised view on muggers...Written by
In the scene where Ames Jainchill (Stuart Margolin) and Paul Kersey (Charles Bronson) are at the gun club, Ames hands Paul a blackpowder pistol stating it is an '1842'. Ames is totally incorrect. Paul takes it and lifts the gun to shoot it down range, it is clearly a Remington model 1858 blackpowder pistol based on the Fordyce Beals patent of September 14, 1858 (Patent 21,748), produced by Remington Arms from 1862-1875. See more »
Actresses Olympia Dukakis ('Cop at the Precinct') and Marcia Jean Kurtz as Marcia Jean-Kurtz ('Woman at Airport') get credited in opening credits only. There's no mention of them in the closing credits. See more »
Following the introduction of the Video Recordings Act in 1984, Death Wish was withdrawn from proposed video release in 1987. When it was finally released in the UK in 2000 (and shown on television two years later), the film had been quietly trimmed by the BBFC to remove 29 seconds from the rape scene including shots of clear nudity and Carol's bottom being sprayed with paint. The film was finally passed completely uncut by the BBFC in June 2006 and all previous edits were waived. See more »
Started a trend for violent vigilante actioners. Slick, enjoyable, well made film, far better than its increasingly dismal sequels.
The original Death Wish movie is still the only one worth watching. A slick, well-made and enjoyably amoral vigilante drama, it was a huge box office hit in its day. It starts with a chilling rape sequence - still provocative thirty years on - and develops from there into an exciting and perversely funny story of how a man whose life is affected by these disturbing events gets his revenge.
New York businessman Paul Kersey (Charles Bronson) is devastated when his wife (Hope Lange) and daughter (Kathleen Tolan) are sexually assaulted in their own home. His wife dies from her injuries and his daughter is so deeply traumatized that she is left in a permanent vegetative state. Kersey tries to get some normality back into his life through work, but deep down inside he's burning for revenge. He knows he will never get the actual gang who harmed his family, but he also realises that crime in general is spreading through the city like a plague. So, armed with a gun and a sense of vigilante justice, he starts patrolling the streets by night, killing muggers, hoodlums and rapists. But for how long can he hand out his own brand of justice without being caught? And at what point does his course of action stop being justifiable? When does he become just as bad as the crooks he is trying to rub out?
The film is based on a Brian Garfield novel, but in the book vigilantism was illustrated as an extension of crime - just another problem as opposed to a solution. Here Michael Winner, a director always happy to create a few ripples, presents the vigilante as an out-and-out hero. The film basically gives a great big nod of approval to Kersey's actions. The sense of humour really helps the film (I still laugh at the scene where some construction-workers kick the hell out of a crook, and one workman nonchalantly states to the TV reporters: "Erm, we roughed him up a bit before the cops arrived!") Death Wish was a pretty influential film for its era, and in spite of its dated air and its morally dubious stance, it is still a great flick. Just make sure you steer clear of its four utterly terrible sequels.
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