Review #1,333: 'The Friends of Eddie Coyle' (1973)

Adapted from the novel of the same name by George V. Higgins, director Peter Yates' The Friends of Eddie Coyle takes pride in its authentic depiction of 1970s Boston, where Irish mobsters trade weapons and organise truck hijackings over a diner table. It follows low-level criminal Eddie 'Fingers' Coyle, played by Robert Mitchum, as he faces a lengthy spell in prison for a crime organised by bartender associate Dillon (Peter Boyle). His only hope of avoiding jail time is a recommendation to the District Attorney's office, which may put him good favour with the judge. ATF agent David Foley (Richard Jordan) sees the opportunity to further his own career by promising Eddie he'll put in a good word as long as the career criminal feeds him solid intelligence.

Mitchum is perfect as a man who has grown tired of risking his livelihood for his bosses, having grown old with little to show for it other than some extra knuckles gained from having his hand slammed into a drawer by a rival. Coyle is well-connected and reliable, with a keen eye for a good business deal. Yet as his superiors have grown rich, he still lives in a shabby neighbourhood, saving up any pennies he can. He purchases guns from the wild yet competent young gun-runner Jackie Brown (Steven Keats), but sees an opportunity to prove himself useful to Foley, who actually has more informants within Coyle's underworld than the old man realises. Coyle understands that this is his last chance to escape the world he has become weary of, and spend his remaining years enjoying the sunshine. Yet his information never seems to be enough for Foley, and as the rate of successful arrests rapidly increases, it isn't long until his 'friends' become suspicious.

The Friends of Eddie Coyle could have only been made in the 1970s, when studios in Hollywood were more open to taking risks and allowed writers to tell the story they wanted to tell. This is about as unsentimental and understated as crime dramas get, shot by cinematographer Victor J. Kemper in a loose style more akin to documentary than thriller. The tone is almost nihilistic at times, mirroring the mindset of the majority of the film's shifty characters. It makes for riveting viewing, with Mitchum delivering one of his finest performances in what was already a muscular career. The supporting cast is excellent too, with both Boyle and Keats utterly convincing as bottom-level scumbags, all of whom seem to exist in a state of constant paranoia and aggression. It will leave you incredibly cold, but only the very best crime sagas expose this dangerous world for what it actually is.


Directed by: Peter Yates
Starring: Robert Mitchum, Peter Boyle, Richard Jordan, Steven Keats, Alex Rocco, Joe Santos
Country: USA

Rating: ****

Tom Gillespie

Review #617: 'Logan's Run' (1976)

In the 2274, the last remaining collection of humans live in a domed utopia ran by a computer, where they live out a hedonistic lifestyle until they reach the age of 30. Their hands are implanted with a light that changes colour as they get older, and when they hit 30, they are forced to take part in the Carrousel, where they are vaporised, believing they are part of a 're-birth' cycle. The majority accept this as part of their natural existence, but a select few, known as Runners, recognise the brutality of population control. To counteract this, there are Sandmen, a sort of police force tasked with tracking and killing any Runners. After killing one such Runner, Sandman Logan 5 (Michael York) finds an ankh pendant on the body, to which the computer recognises as a symbol of Sanctuary, a mythical place seen as the escape by the Runners. The computer tells Logan 5 he must find Sanctuary, and his lifespan is shortened to hasten his quest, so he enlists the help of Jessica 6 (Jenny Agutter), a potential Runner who wears an ankh pendant.

With its bold, bright futuristic sets and obligatory shiny jumpsuits, Logan's Run is one of those 1970's ever-so-camp cult sci-fi's that no-one really takes seriously regardless of it's social message. The film itself certainly takes itself seriously, but has dated so badly it is best viewed as a bit of a guilty pleasure. Certainly one of those films to watch on a rainy bank holiday or a Sunday afternoon. It certainly has it's moments - occasionally it slips into a hypnotic and slightly psychedelic wish-wash of flashing red lights and green death-rays, that can't help but grab your attention. Half the time I didn't really know what was happening, certainly a fault on my part, but the film wasn't holding my attention long enough for me to keep up with the plot and narrative twists, despite all the visual splendour on show.

Yet the actual plot device that jump-starts Logan's journey is itself confusing. Why does the computer send Logan on this mission simply for finding the ankh pendant, a symbol that is worn in plain sight by many members of the Runners? Why shorten Logan's lifespan, as this will surely give him enough reason to become a Runner himself and escape his unfairly premature demise? Clearly logic isn't given enough attention, but Logan's Run contains enough cornball lines of dialogue, hilarious 1970's haircuts, and rather useless laser guns, to justify it's cult following. It's far too long, but a nice reminder of a time where sci-fi was still primarily rooted in satire, regardless of how successful it is.


Directed by: Michael Anderson
Starring: Michael York, Jenny Agutter, Richard Jordan, Farrah Fawcett, Peter Ustinov
Country: USA

Rating: ***

Tom Gillespie