User reviews

Cisco Pike was Kris Kristofferson's film debut and it's astonishing to see him looking so young. He also provided the bulk of the songs featured on the soundtrack. He plays Cisco Pike, a recovering drug dealer and semi pro musician who can't quite decide which direction his life is going to take. Crooked cop Gene Hackman approaches Kris with the chance to clear his criminal record by selling Gene's purloined stash of primo dope. The balance of the film follows Kris' efforts to unload the pot in one hurried weekend which finds him frolicking in bed with Warhol star Viva and porn actress Joy Bang, dropping in to the studio with Doug Sahm and the Sir Douglas Quartet, dining on fine food with Antonio 'Huggy Bear' Fargas, and reminiscing about old times with his strung out old music buddy H D (Harry Dean) Stanton. Add Karen Black, Severn Darden and Wavy Gravy himself, Hugh Romney, and you have an amazing time capsule and a tremendously entertaining and well acted picture. This would make a terrific double bill with 1971s Vanishing Point.

This film was barely seen in 1972 starring Kristofferson and Gene Hackman as a scumbag cop. Harry Dean Stanton is marvelous as Kris' friend and Karen Black is always interesting. The cute Joy Bang is even here. This film was so far under the radar, most people forgot it even exists.

A 7 out of 10. Best performance = Harry Dean Stanton. Hackman should have played more characters like this one. This may be Kristofferson's best work (as an actor) along with Blume in Love. Great cinematography and location work. I can't believe this wasn't a hit in 1972. Track this one down and you won't be disappointed.

There was plenty of "junk" in the golden age 70's, but this film should not be included.

This hard to find film has always been a favorite presenting the changing L.A. music/hippie scene of the early 70's. Kristofferson, in his starring film debut, is marvelous as the down-on-his-luck troubadour of the title. At times he appears genuinely and functionally smashed, but it fits the character to a tee. It's also interesting to watch him composing his often sad, literate tunes, as one realizes this was probably how he wrote many of his greatest songs ("Help Me Make It Through the Night", "For the Good Times", "Me and Bobby McGee", "Sunday Morning Coming Down"): in lonely desperation. None of them are here, but he does do "Loving Her Was Easier" and "Pilgrim Chapter 33". The latter autobiographical song is perfectly fitting for the character of Cisco Pike. Kristofferson is so charismatic and his screen presence is such that we root for him in typical early 70's anti-hero fashion even though he is essentially a drunken pothead who cheats on his girlfriend (the always welcome Karen Black) and is racing to unload $10,000 worth of marijuana in a single weekend. But you'll seldom find a more real and lived-in performance than this debut. Sam Peckinpah saw this and cast him as the doomed Billy the Kid in his next film.

Kristofferson's desperation is fueled by crooked cop Gene Hackman (in fine if eccentric form) who himself is desperate for the money. So the thrust of the film is Kristofferson racing around L.A., weaving on the freeways in his beat-up station wagon full of pot, and encountering Roscoe Lee Browne, Wavy Gravy, Antonio Fargas, Severn Darden, Howard Hesseman, Doug Sahm, and a menage a trois with Viva and Joy Bang. It's a time capsule to be sure. In the final reel Harry Dean Stanton shows up memorably as an old buddy who's even more wasted and down-on-his-luck. The underrated B.L. Norton is behind the camera, and the film is highly recommended. This begs for a DVD release with extras. A Krisofferson commentary would be particularly insightful.

Singer-songwriter Kris Kristofferson is well-cast in his first film as Cisco Pike, a musician with some success a few years behind him, now just another struggling performer in Southern California. Busted twice for dealing, he's gone straight, hoping to get back into the music business which has quietly passed him by. The narcotics officer who nailed Cisco comes to him with a proposition: having just lucked into 100 kilos of weed, he wants Cisco to sell it all off in two-and-half days, give the cop 10 G's and keep the rest of the profits for himself. Writer-director B.L. Norton (whose script was reworked by an uncredited Robert Towne) creates a deceptively lackadaisical atmosphere, yet the paranoia and desperation is palpable. The vivid cinematography is by Vilis Lapenieks; performances by Kristofferson (who also contributes four songs to the soundtrack), Gene Hackman, Karen Black, Antonio Fargas, Roscoe Lee Browne and Harry Dean Stanton are each in their own remarkable. There are some problems with the film, mostly narrative: an unexplained sequence midway has Hackman's narc apparently following Cisco as he deals to his clients, leading to a violent argument that sort of dead-ends; also, Cisco is given several chances to explain his actions at crucial points in the story, but each time he frustratingly clams up (this is a problem that runs throughout the movie). Otherwise, a perceptive, quirky effort with funny asides and lovely throwaway moments. **1/2 from ****

I recall loving this film when I saw it upon release in 1972. It seemed to capture something of the moment that so few films did and I fell in love with the songs of Kris Kristofferson. Recently picking up an Italian poster for the film encouraged me to revisit it. Actually, hard to find but I found I had a DVD. The film is fine, Kristofferson is great as is Karen Black, for most of her performance. Indeed, she is great at first but seems to fade a little in the final scenes. Viva is okay but perhaps a little old in the role, seeing her now alongside the kitten like Joy Bang. There are not a lot of songs here and the central story regarding the drug dealing sets ones eyes rolling at the thought but the dialogue, the cinematography and colourful and evocative creation of the freewheeling lifestyles remains attractive and compelling. One slight item of curiosity is that IMDb suggests there is talk of a threesome but no nudity, whereas quite clearly we see Kristofferson with Viva and Bang in a brief topless frolic. It is blink and you miss it stuff, so whether it was intended to be cut out, I don't know and can't remember whether or not it was in in the cinema release!

I've never seen so many reviews miss the mark so entirely. It's important to understand that this is mainstream money behind a bleeding- edge art-flick of it's day. Kristoferson was reviled by the mainstream. Truly loathed. It's one of the reasons his star never quite took-off. Seriously, having one of his albums back in those days would have had your folks shipping you off to boarding school.

Many are characterizing this as "down-beat", "low-key", one person even said, "humerous melodrama". Wrong. The aloof demeanor of Kristoferson's character is just how Kristoferson was. That lumbering meter was omnipresent in films of the day. He wasn't intoxicated, or leastwise effected by it, that was just what passed for kool in those days kids. Those guys grew up on Gary Cooper and the strong-silent type was the guy every kid emulated. This was disingenuous coming from a long-haired California kid. Part of the reason he was so hated.

The copyright date in the film says 1971. Hackman's character was driving a car depicted as a police cruiser and it was a '70 model. Also, Kristoferson's character rents a car at one point, and it's a '71. So I'm guessing this film is early '72 at the latest and not '79 like the info says.

Anyway. This is an incredibly enjoyable watch. 'Play Misty for me', Clint Eastwood's directorial debut is a better look at the early 70s. That came out in '70 as a matter of fact. To me LA was just a set along with the period in Cisco Pike. Again I think there are way better cultural history tours of the time. This was fantastically directed, and if often poorly lit, was cinematographically quite professional looking. The script is tight with great dialog that dates well but it moves a little fast. They needed about 10 more scenes in the film to flesh it out a little. Probably budget issues.

One of the lost 70s movies that seldom turns up in books or on 'best' lists, and yet it defines the time (1972) and place (Venice Beach, CA) like no other. Leading the stellar cast is Kris Kristofferson, playing a down-on-his-luck musician - kind of ironically as his soundtrack is every bit as good as his performance. The ever-wonderful Karen Black is his much put-upon girlfriend, though a strong character in her own right. Harry Dean Stanton strums a guitar and shoots up, while Gene Hackman plays a rogue cop, Factory model Viva appears looking somewhat out of place in LA, and the Doug (Sahm) in the Sir Douglas Quintet plays himself, even doing a turn in the studio. Finally, there's the perfectly named Joy Bang, and that's pretty much all you need to know. Sure, there's a story going on about a dope deal that inevitably goes tits up, but we've all seen that before. This is a character driven movie with a vengeance and while it may be the only film of note from writer/director Bill Norton, it's a great one.

Interesting little movie set in California in the early seventies. Kris Kristofferson plays Cisco Pike, a musician trying to stop dealing drugs and get back to recording music. Unfortunately corrupt cop Holland (Gene Hackman) has an offer for Cisco. Sell some marijuana for him in two days and he'll look at charges made against Cisco (Holland's busted him twice before). Selling the drugs is harder than it looks as he has some stolen and other buyers are trying to make deals with him. He ends up getting the amount of money he needs but Holland is unstable and starts shooting anything in sight.

It's a movie where almost everyone seems stoned or drugged up, Kristofferson is great as the main character and his songs are good too. Enjoyable performances too from Hackman, Karen Black and Harry Dean Stanton make this a decent watch about the tail end of the sixties drug scene.

Kris Kristofferson plays a musician and ex drug dealer who is blackmailed by corrupt cop Gene Hackman into selling marijuana he's seized and giving Hackman the proceeds by the end of the weekend. Kristofferson meets up with old and new contacts and starts selling, much to the frustration of girlfriend Karen Black.

This is a well enough acted and believable tale that comes across as a road movie where Kristofferson just keeps meeting different 'interesting' characters to sell to. Kristofferson is fine in the lead, Hackman, just off 'The French Connection' is still rather in Popeye Doyle mode, Karen Black is solid and Harry Dean Stanton provides a few necessary laughs along the way. There was a plethora of drug related films in the late sixties and early seventies like this and pretty good though they often were, often gaining cult status, they are of a time. Nice soundtrack from Kristofferson etc if you like that sort of thing.

Somebody please bring this out on DVD, because I'm desperate to own a copy so I can watch it whenever I feel like it. It's rarely seen and it's a fantastic piece of 1970's cinema.

Strong, realistic, natural performances from Kris and Harry Dean, stacks of great cameos including the might Antonio Fargas. Fantastically evocative and one of the few occasions when Kristofferson's great presence and offscreen persona have been used to good effect in front of the camera.

If you love 1970's American films (and if you have any feeling for movies at all, you have to love this period), then this is up there with the best.

If you have a chance to see it, take it.

Tedious in it's lack of motion, "Ciscoi Pike" is well acted, but doesn't really have a storyline. It just sort of meanders about with Kristofferson trying to sell $10,000 worth of drugs while under the thumb of the rarely seen Hackman. Harry Dean Stanton finally makes a welcome appearance in the final third of the film, but to little effect. Today there would be almost no audience for this severely outdated piece of nostalgia. Hackman is barely in the film, yet receives top billing. Karen Black and H.D. Stanton simply are along for the ride as Kristofferson makes his rounds dealing. Very forgettable and not recommended as entertainment. - MERK

Anyone looking for a downbeat, humorous melodrama should track down Kris Kristofferson's acting debut as the title character. Gene Hackman, Harry Dean Stanton and Karen Black compliment him nicely in a dated yet refreshing picture about a has-been musician who's recently quit dealing drugs. Hackman is a psychotic narc who blackmails him into selling stolen marijuana and Black is his put-upon live-in girlfriend that's just about had it with Pike's freewheeling ways. An extremely moody piece, punctuated with quick but successful comedic moments and quietly tense scenes. CISCO PIKE is from that early 70's less-is-more period of filmmaking and makes a great diversion from the feces currently hurled at us from Hollywood. Just goes to show that good movies age well, regardless of the pop culture it contains within.

An early lead for Gene Hackman (who has just turned 93) building upon his recent success as Popeye Doyle in 'The French Connection' although here played more as a road movie than as a thriller and this time the cop he plays is corrupt.

A young and beardless Kris Kristofferson gets an 'introducing' credit as a drug dealer (they could be portrayed as heroes in those days). Karen Black has an even more faraway look in her eyes than usual in big-hair and ankle-length cheesecloth dresses as the hippie chick to end all hippie chicks.

It's all a bit of a shambles and I could have done without all that harmonica music on the soundtrack. But Harry Dean Stanton's good.

Former rock star Cisco Pike (Kris Kristofferson) is broke. He promised his girlfriend Sue (Karen Black) to stop dealing. Corrupt Police Officer Leo Holland (Gene Hackman) has a hundred kilo of grass and offers to clear his drug charge if he sells for him. Leo needs a quick $10k by Monday which means he only has the weekend.

I really like the start. There are some really good moments, but the middle does meander a bit. I want Cisco to have a drug dealing partner. I would have liked Harry Dean Stanton in that role. If Harry is in the whole movie, his ending would hit differently and he would have held the middle section much better. Gene Hackman comes back and sets the screen on fire. Kris is solid in his stoic acting with only his second acting credit. There is a hesitancy to him which can be attributed to the character. I can certainly see the flaws, but I can mostly overlook them.

Cisco Pike is an old portrait of a Los Angeles at early seventies when was ongoing a new wave of independent pictures, Kris Kristoferson plays a failed promising country singer, by this had troubles with justice expecting continues be free living quietly with a new free mind woman Karen Black, everything goes into upside down when appears a crook officer Gene Hackman pushing him to sell in just weekend a high amount of marijuana deflected of local Bureau of narcotics.

In a dead-end Cisco Pike entering in a non-stopping journey to sell all those grass packets aiming for got 10.000 dollars for the scoundrel Cop in return to get a help to get your freedom against his past as drug dealer, apart the contrived premise, the picture unfolds easily on the Los Angeles underground, many twists come along, Harry Dean Stanton stolen the show just appearing in the middle, fine offering.

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First watch: 2024 / How many: 1 / Source: DVD / Rating: 7.5.

Packed with Contemporaneous Counter-Culture Icons...Kris Kristofferson (Debut)...Gene Hackman...Karen Black...Harry Dean Stanton and Others...

It's One of those "In-Flux" Movies that was the 1st Wave of Cinema's "Freedom-Flag" Waving All Over the Late 60's-Early 70's Landscape with Celebratory "Chutzpah" resulting from, Finally, the "Death of the Motion Picture Production Code", Known as "The Code".

It was Slowly being Replaced by a "Rating System" that Tried to Define Content for Audience Awareness.

Some of the Films that "Exploited" or Tapped-In to the "Youth-Market" while Studios and Movie Muckety-Mucks" were Caught "Sleeping" Without a Clue.

Kristofferson does Fine and Adds 4 Songs, but the Acting Honors Go to Harry Dean Stanton as Pike's Heroin-Addicted Best-Friend, Karen Black as the "Girl', and in Limited Screen-Time a Perfectly Apt Gene Hackman as a Dino-Narc.

This is a Little Movie with a Lot on its Mind and Delivers the Drug-Music-Scene with a Verisimilitude that isn't Always an Easy Thing.

Gritty, Gripping, Entertaining Look-See at some of the Aftermath of the "Revolution", its Down-Home Residue and Unfiltered Unmasking that was, Frankly, Impossible or at Least Extremely Difficult During the Stranglehold that was "The Code".

Above Average and...

Worth a Watch.

I've seen this film raved about but it didn't really do it for me. It has a certain ambience about it, that's for sure, and the setting of a sun-drenched liberal America in 1970 is a good one. But the story is only fitfully engaging and there's a whole lot of running time that feels either padded or repetitive with characters yakking away and not really doing much. Kristofferson, oddly beardless, fails to impress much in his first leading role and Hackman's villain fails to make an impact. Karen Black has nothing more than a token love interest role and it's left to minor players like Harry Dean Stanton to impress. The only parts I really liked were when they played the same Sonny Terry music as in Herzog's STROSZEK.

I'd never heard of Kris Kristofferson until I saw this movie in a double feature. I'd gone to see the other feature, which I now forget. This was so good, I got bored with the other feature. I immediately bought Kristofferson's early albums and went back to see this a second time. I haven't seen it since but I can remember dialog and scenes, including one which evidently includes a Jack Elliot character. It's a good, basic thriller plot raised well above the average by the acting, the directing, the script and the ambiance. I, too, would love to own it on DVD and shelve it up there with the ten or twenty movies I'm always happy to watch again. Kristofferson was never better. A forgotten 70s classic, far and away better than many of the better known movies of the period.