Point Blank is an adaption of the first in a series of novels by Richard Stark, ‘The Hunter’, about a career criminal known only as Parker. Here Walker, as he is known in the film, is played with steely cold detachment by Lee Marvin. Having read some of the series of books and having seen Payback (‘99) and The Outfit (‘73), Marvin’s version of Parker is by far the closest facsimile of the book character.
Lee Marvin is excellent here. Having forged a career as a no nonsense tough guy with those granite features, silvery hair and sharp suits he exudes menace and erupts with violence given any opportunity. He also amuses with his constant hunt for his money, blinkers on, he is single minded in his pursuit. His deadpan confusion when being asked as to why he has created all this mayhem, “I want my money. I want my $93 grand”, or his test drive with an associate, bring a subtle violent humour. Any hint of emotion though exists only in the dreamlike flashbacks to his time with partner Lynne and friend Mal.
Director John Boorman could have gone the easy route, making a straight up crime film, but this is infected with a 1960s feel, a pop art infused film where events seem to move between the aforementioned crime genre and a dream like reality. None more 60s than when Walker visits the club with the loud singer and bright colours and imagery playing as he beats up two men. The films flashbacks are a case in point, the fun happy times that took place before the heist at Alcatraz where he is betrayed and left for dead by wife Lynne, and ‘friend’ Mal. from the start and occasionally throughout Walker remembers an idealised past. A happier time when he first meets Lynne, dark of hair and smiling or seeing Mal at the reunion. He feels like a different Walker, more alive, as all three go cavorting on joyful car rides or dive into oncoming waves. But making his escape and on the hunt for his money he becomes cold, ruthless, someone else.
At one point Chris, Lynnes sister, played by Angie Dickinson in bright oranges and yellows which counter the coldness of the opening, tells Walker he died at Alcatraz when admonishing his indifference. In the cell he questions, as he lies there dying, was it a dream, did it happen, this betrayal by wife and friend? Yet he somehow escapes by swimming from the island. From here you could read into the narrative a spiritual aspect. The character of Yost, played by Keenan Wynn, initially states he’s after the Organisation but appears only to Walker directing his revenge as though an avenging angel, guiding this restless spirit. Walker never directly kills anyone, rather he is the catalyst as deaths are either accidental, suicides or at the hands of others. You can’t get into heaven with blood on your hands.
He is the motivation for all this mayhem, and him imagining all this in the cell maybe why he looks so confused when confronted by Brewster: “You're a very bad man, Walker, a very destructive man! Why do you run around doing things like this?” But then it could just be a straight crime film with European sensibilities from John Boorman. Yet, as the final reveal of the man behind it all takes place at the end we witness Walker vanish into Alcatraz’s shadows, the film coming full circle at the place he was never supposed to leave.