The Killer Elite

I have been trying to find 'The Killer Elite' for quite some time. Directed by the legendary Sam Peckinpah in between two of his best and most underrated movies ('Bring Me The Head Of Alfredo Garcia' and 'Cross Of Iron'), and re-teaming James Caan and Robert Duvall, co-stars of 'The Godfather', I was sure that this was going to be one of those great lost 70s gems like 'Rolling Thunder' or 'The Yakuza'. Sadly, it isn't. Now I know Peckinpah often suffered studio interference and rarely got to get a movie on screen with his vision uncompromised, so I can only assume this is the case here. Caan, who is always watchable no matter what he is in, plays a CIA operative who is betrayed by his partner, Duvall (who only has a small supporting role to be honest). Wounded and written off by his bosses, he is manipulated into guarding an Asian politician (Mako, best known for the 'Conan' films) who Duvall is trying to assassinate. Caan and his hand-picked team (Peckinpah regular Bo Hopkins, and Burt Young of 'Rocky' fame) carry out there task in good faith until it becomes increasingly obvious that they are being used. Peckinpah deals with his frequent themes of loyalty and honour, and there is some characteristic bloody action sequences, but frankly the script leaves a lot to be desired, the plot sometimes wanders off track, and some golden opportunities are missed. 'The Killer Elite' reeks of compromise and therefore fails to completely satisfy. But hey, even neutered Peckinpah is still Peckinpah, and just about everything he directed wipes the floor with most of Hollywood's current lame output, so I still say give this one a try. For all its flaws it still stars James Caan, one of the most underrated actors of his generation, and even that in itself is enough to keep me watching.

To all the long-faced dimwits bemoaning the decidedly uncontentious tone of this picture, I've three words: Get a life! First off, the "The Killer Elite" is a rip-roaring gasser about the most offbeat assassins to ever walk the earth. Burt Young versus ninjas? James Caan and Robert Duvall serenading CIA safe houses? Where do I sign? Maybe some also bellow on about how watered-down "The Killer Elite" is amongst the Peckinpah pantheon, but I put this to you: how many "PG"-rated pictures include defectors getting their brains blown out, as sanguine life sprays the walls? Not many. Third off, the nihilistic corporate pecking order as portrayed in the film sums up the old "Alfredo Garcia" "no heroes" mentality quite nicely. Mako and Gig "Fred C. Dobbs" Young are there to party, Caan, Duvall, and Young seem to be having the time of their lives, so what are we waiting for? "Let's go bananas."

This Peckinpah thriller is poorly plotted, sometimes confusing and generally doesn't hit the mark. Peckinpah provides a few exciting action scenes, but the film is ultimately defeated by overlength. The very poor sound quality is another problem: it's often hard to understand parts of the dialogue. Decent performances.

Killer Elite, The (1975)

** (out of 4)

Disappointing thriller from Sam Peckinpah has much of the director's style but very little else. In the film, Mike (James Caan) and George (Robert Duvall) are friends working for the same secret group of spies. While on a mission George decides to take a pay-out so he shoots the person they're supposed to be guarding and he also shoots Mike putting him out of commission. As you'd expect, it doesn't take too long for both men to be facing each other down again. THE KILLER ELITE is a pretty much forgotten film by the director and it's easy to see why as there's very little entertainment to be had here. The most disappointing thing is that the director was given a pretty strong cast to work with but in the end the story is just too weak and moves way too slow to be very entertaining. I will say that the film starts off at a pretty good pace with the introduction of the two lead characters followed by a hilarious joke involving Mike going to bed with a certain woman and George "knowing" something about her. The big double-cross was also stylishly done and of course it features a head being shot up in that Peckinpah slow-motion that you'd expect. From this point on the movie just tries to be too smart for its own good as there are several double-crosses that take place but after a while you just really grow tired of how ridiculous the film is getting so you just tune out and wait for the ending. Again, if you're a Peckinpah junkie then you'll be happy to know that there are several bits from the director including all the slow-motion action scenes. Each time someone dies they do it in slow motion and there's no doubt that the director, even at this stage of his career, knew how to stage an action scene. Both Caan and Duvall are in fine form and their chemistry together makes one wish that they were together more often. The before mentioned joke in the car works perfectly as the actors really make you seem as they're friends. The supporting cast includes familiar faces like Mako, Bo Hopkins, Arthur Hill, Burt Young and Gig Young. THE KILLER ELITE runs just over two-hours and sadly most of this time the viewer is just bored and wishing it would end. There simply aren't enough good moments to make the film worth viewing to anyone outside those Peckinpah fans.

By the mid-1970s, the career of director Sam Peckinpah had basically hit the skids. He had seen one more film of his (PAT GARRETT AND BILLY THE KID) butchered by a studio (MGM) in 1973; then, in 1974, his most overtly personal film, the admittedly ghoulish-sounding BRING ME THE HEAD OF ALFREDO GARCIA, was roundly trashed by audiences and critics alike. And on top of that, the excesses that had been plaguing him on and off for years were starting to dominate his life. Yet through all of this, he somehow managed to pull off the good when he was sober. A case in point was the action thriller THE KILLER ELITE, released near the end of 1975.

In this film, James Caan portrays an employee for a CIA-sponsored offshoot group called ComTeg (Communications Integrity) who, in protecting a German political figure (Helmut Dantine), is maliciously wounded by his partner (Robert Duvall) in the leg and arm. Though his superiors in ComTeg (Arthur Hill; Gig Young) tell him that those injuries are so severe that he may never be able to walk fully again, Caan vows to get back into the game, exposing himself to strenuous rehabilitation and martial arts exercises. When Hill gives him the chance, via protecting a Japanese politician (Mako) until he can be gotten out of the country, Caan immediately grabs onto it, especially with the fringe benefit of knowing Duvall has resurfaced and is gunning for Mako on his own. The whole operation turns out to be part of an internecine battle of wills inside ComTeg between their two superiors, first resulting in a fatal confrontation at the Bethlehem Steel shipyard, and then a high-energy showdown aboard a mothballed World War II vessel in Suisun Bay involving Japanese kung-fu masters.

It is easy to simply dismiss THE KILLER ELITE (which, however, shouldn't be confused with the similarly-titled, but unrelated and much more violent, 2011 film of the same name) as lesser Peckinpah, but he should still be given credit for having taken a strictly commercial property (much like his big 1972 hit THE GETAWAY), and turning it into a solid action film with some bursts of sardonic humor, plus points being made about the dirty business of the CIA at a time when the agency was being battered in the press for its foreign shenanigans and domestic spying, plus its role in covering up Watergate. He would return to this theme in his last film, 1983's THE OSTERMAN WEEKEND.

Under Peckinpah's direction, both Caan and Duvall, who had appeared together before in THE GODFATHER, do solid work as the two friends set up against one another; and Hill and Gig Young (the latter of whom made for a dispassionate killer in ALFREDO GARCIA) are equally good in their bureaucratic roles. Burt Young and Bo Hopkins do good solid turns as Caan's two partners in the protection of Mako's ambitious Oriental political figure. As is typical with Peckinpah, the action scenes are shot and edited in that characteristic Peckinpah style; and the on-location cinematography by Philip Lathrop, whose credits include 1965's THE CINCINNATI KID (from which Peckinpah was unceremoniously fired), is also superb. And finally, Jerry Fielding, working with Peckinpah one final time, comes up with another iconoclastic music score that combines jazz, dissonance, and Far Eastern music elements.

The end result may not have been "classic Peckinpah" (it is certainly less bloody than THE WILD BUNCH, STRAW DOGS, or ALFREDO GARCIA), but THE KILLER ELITE is still far superior to most of the ultra-violent action flicks that would follow in Peckinpah's wake.