Quadrilha em Pânico

The cast list of this film reads like a who's who of 60's and 70's Hollywood character actors. While they don't all get a chance to really shine here, their familiar faces and inherent skills help move this heist flick along nicely. Brown is a ne'er do well thief who returns to Los Angeles just in time to help Harris mastermind the robbery of the L.A. Coliseum during a Rams play-off game. He enlists the aid of four disparate men (Borgnine, Klugman, Oates and Sutherland) who form a tenuous alliance, working as a unit just long enough to get the job done and split the $500,000 take. The heist itself is suspensefully handled and skillfully done, but the primary thrust of the story kicks in when it's time to divvy out the loot, hence the title of the film (brought home even more in the title of the source novel.) Brown, though stiff at times, is such a physical presence (and an amiable one) that he anchors the story well, faltering only when it's called upon him to enact scenes of grief. Harris is tough-as-nails as a hard, (big!) red-haired schemer. All of the men in the gang give their customary polished and distinct performances. Borgnine is, of course, the most blustery. Klugman (who would return to this venue in "Two Minute Warning") plays the nervous one. Oates gives the most texture to his role as a wary safe-cracker. Sutherland is a class-act hit man with the necessary cool and effortlessness. Carroll is very attractive in a thankless role of decoration/plot device. Hackman turns up late as the police detective assigned to a murder related to the heist and gives a decent performance. Trivia buffs will note that one of the clerks (Joseph) provided the voice of Melody in the 70's cartoon series "Josie and the Pussycats". Nearly all of the roles in the film are filled with people who worked extensively as guest stars in major television series. The film is creatively directed, contains bouncy Quincy Jones music and clips along at a very tight pace except for a mouthwash commercial-esque romantic montage between Brown and Carroll. Some of the plot elements are pretty preposterous (such as Brown's initial sequences of "auditioning" the heist participants), but it makes for interesting viewing. The movie serves as a fun time capsule of the era's fashions and procedures (check out the hair on Borgnine's secretary!) The story is never completely predictable and is at home with other similar (if more polished and better known) films from that time such as "Bullit" and "The Thomas Crown Affair".

The books of crime novelist Donald Westlake (usually writing as "Richard Stark") have made for some fairly interesting movies for almost half a century now. The first real one was in 1967, when his novel "The Hunter" was the basis for the John Boorman-directed cult classic POINT BLANK (with Lee Marvin); and there have been others: THE HOT ROCK (with George Segal and Robert Redford, from 1972); THE OUTFIT (with Robert Duvall and Robert Ryan, released in 1974); and BANK SHOT (with George C. Scott, also released in 1974).

And then there's 1968's THE SPLIT.

Based on Westlake's book "The Seventh", the film is a classically themed Hollywood heist film, involving a group of thieves robbing the cash office at the Los Angeles Memorial Coliseum during a playoff game between the Los Angeles Rams and the Atlanta Falcons. Former NFL legend Jim Brown, who turned to acting after retiring from the Cleveland Browns in 1965 and became a star in Robert Aldrich's 1967 classic THE DIRTY DOZEN, is the leader of this group that includes his fellow DIRTY DOZEN cast members Donald Sutherland and Ernest Borgnine; Jack Klugman (one of the jurors in the 1957 classic TWELVE ANGRY MEN); and veteran character actor Warren Oates. The heist goes off with almost laser-like perfection, but it's what happens thereafter--the complications; the screw-ups; and the betrayals--that are the real payoff. Gene Hackman, who had at the time recently leaped to acting prominence as a result of his role in BONNIE AND CLYDE, portrays a seedy Los Angeles cop (perhaps presaging his Oscar-winning turn in THE FRENCH CONNECTION); and Diahann Carroll and Julie Harris are the women involved. James Whitmore plays a superbly seedy landlord at Carroll's apartment.

By 21st century standards, this must seem terribly old-fashioned: there are no hyper-violent, over-the-top stunts, no CGI bloodshed, or any of that extraneous junk. And this is clearly a film of the late 1960s, in terms of costumes, hairstyles, and all of that—this and, of course, the fact that the Rams were L.A.'s pro-football team too. And yet, even though it doesn't necessarily stand out among the many great crime heist films, from Stanley Kubrick's THE KILLING to Sam Peckinpah's THE GETAWAY, or even the 1988 blockbuster DIE HARD, there's still something hugely fascinating about THE SPLIT, in terms of the way suspense is built up. Perhaps part of the reason it isn't as well-known as it should be is that the director, British-born Gordon Flemyng, was not a known entity, save for a couple of episodes of the TV series "The Avengers", and the 1965's DR. WHO AND THE DALEKS. All the same, though, the cast still does well under Flemyng's direction, with very good cinematography by Burnett Guffey (who won an Oscar for BONNIE AND CLYDE), and a taut, early action film music score by Quincy Jones, who had done major work on THE PAWNBROKER, IN THE HEAT OF THE NIGHT, and IN COLD BLOOD. This was also the first film to be released following the establishment of the movie ratings system by the MPAA where the for-adults 'R' rating was placed, even though it is closer to a 'PG-13' rating by today's ultra-violent standards.

Imperfect and dated as it is at times, I'd still give THE SPLIT a '7' rating, simply because of the surface pleasures of the piece.

Though I think Leonard was a little harsh, "The Split" still isn't a very good movie. The characters are paper-thin, scenes seem to be missing, and the movie is generally predictable. And there are some unbelievable scenes, like when Jim Brown's character "tests" the potential recruits. The lame climax you've seen in countless other movies.

On the positive side, there is quite a bit of A-T-T-I-T-U-D-E here, which only something from this time period could pull off. There's a great scene when Borgnine and Brown slug it out. And the Quincy Jones soundtrack is great. I suspect the music is behind the reason why this has never been released on video.

This movie had everything necessary for a great movie but fell short while still an entertaining flick. The amazing cast features early performances by Jim Brown, Gene Hackman and Donald Sutherland. Other stars include Ernest Borgnine, Jack Klugman and Julie Harris. How could this go wrong? The plot centers around a heist which is reminiscent of The Killing but replaces the racetrack with a football stadium (Los Angeles Memorial Coliseum). The action is mostly good though perhaps slightly overboard at times. The story is largely believable though the scenes with Brown's girlfriend are at times problematic though not insurmountable. There are some other issues with the script but not major dealbreakers. Things get a little sloppy in the second half and the director tries to tie it all together in a rushed knot at the end which brings the movie down a notch. This is really must-see for any Gene Hackman fan since it is one of his earlier roles and he shows all of the character traits which made him a great star. Mostly, this film has some appealing parts namely in the way of its stars but too many little flaws which are emblematic of the time period when films were getting sloppier.

Great little heist number starring some of the finest actors ever to grace the silver screen. Jim Brown made only few films between his most famous outing, The Dirty Dozen, and his biggest claim to fame, the Blaxploitation films of the 1970s. The Split may well be the best of those, though ...tick...tick...tick... with George Kennedy would be a close second. Here, Brown turns in one of his best performances as McClain, a down on his luck career criminal looking to make a big score.

Jim Brown teams with two of his Dirty Dozen cohorts, Ernest Borgnine and Donald Sutherland, as well as Jack Klugman, Warren Oates and Gene Hackman. All give fine performances as do the film's leading ladies, Julie Harris and Diahann Carroll. Warren Oates is terrific here in one of his early roles. When compared to his later work, this shows just how versatile and actor he was. Gene Hackman is also excellent as Brille, a role which foreshadows the work he would do later in The French Connection. Keep an eye out for veteran character actor James Whitmore in a small but pivotal role as Diahann Carroll's creepy landlord.

Tight direction by Gordon Flemyng, interesting cinematography by Burnett Guffey, wonderful music by Quincy Jones, an effectively clever story and script by Richard Stark and Robert Sabaroff. The Split has a lot going for it. If you liked Peckinpah's The Getaway and Don Siegel's Charley Varrick, chances are you'll like The Split.

Highly recommended.