User reviews

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.

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.

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.

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".

Near the beginning of this film, there is a fistfight, but it's not exciting because we don't know why the two men are fighting. A little later, there is a car chase, but it's not exciting either, because we don't know who's chasing whom or why. Later still, we find out the answers to those questions, but two potentially good action scenes have been wasted. And then the movie turns into a standard heist flick....thankfully only for a while. The focus here is not on the actual heist, but more on the aftermath. And it's there that the movie finally goes in unexpected directions.

There is, for example, the bizarre scene in which a man gets off on shooting someone with a machine-gun. There is the memorable image of a white sheet that gradually "absorbs" the blood of the body that's underneath it, and red spots start appearing on it. And there some neat plot twists along the way, mostly involving a character (I won't say which) that enters the picture when you least expect him to.

If the whole movie was as good as its final 30 minutes, I'd give it one more star, but for now this gets a ** rating.

Who is the female VOICE at the very end of the movie.?

After football great Jim Brown died recently, I decided to watch two of his films he made after retiring from the sport that made him famous. I've long been interested in watching this one because I found out it was the first one to be rated R after the Motion PIcture Association of America (now simply reduced to Motion Picture Association) started doing the letter ratings system. R at the time meant that "no one under 16 admitted without parent or adult guardian" only raising the age limit to 17 two years later. Anyway, Brown ends up planning a heist of the box office earnings from a football game with Donald Sutherland, Ernest Borgnine (two of Brown's previous co-stars from The Dirty Dozen), Warren Oates, Jack Klugman, and Julie Harris in on the action. Diahann Carroll is his leading lady and Gene Hackman is a police detective on the trail. I liked most of the goings-on most of the time though I admit some scenes confused me. But The Split was really intriguing to me especially when Quincy Jones' score was used. So I recommend The Split for anyone looking for one of Jim Brown's early films. Next, I'll review him in El Condor.

Richard Stark's novel "The Seventh" becomes a great-looking all-star heist flick with a football backdrop which, unfortunately, completely falls apart in the final quarter. Drifting thief, apparently a genius at concocting schemes and rounding up partners, comes up with a brilliant plan to rob the cash-office at the Los Angeles Coliseum during a football game. Selecting his ex-con cohorts by means of making them display their muscles (not especially their skills) is rather perplexing, though it works for the movie. What doesn't work is a sharp left turn in the narrative about an hour into the proceedings, with an absolutely unbelievable (and unforgivable) turn of events pitting the robbers against each other. This ridiculous third act smacks of desperation, and leaves Gene Hackman (as a somewhat dirty detective) with nothing but absurdity to play opposite. The rest of the cast does well until the screenplay drops the ball, and Burnett Guffey's cinematography is first-rate. *1/2 from ****

When I looked at the excellent actors gathered together, I couldn't wait to see it. The premise of a robbery at the Colleseum during the Superbowl added to my high expectations. To my surprise, what I got was a dreary and routine melodrama in which none of the characters were interesting. Even the robbery itself was nothing that hadn't been done better elsewhere. A made for TV flick with a cast of unknowns could have it just as well. What happens after the robbery will surprise no one who hasn't seen this type of movie before, only it's not all that believable. As for the actors? Well, of course they perform well enough, but don't achieve the greatness they had in other roles. Watching this film is kind of like gathering The Beatles and having them perform "Chopsticks."

An underrated actioner from the Swinging Sixties, ''The Split'' boasts an incredible cast. Though former football great Jim Brown gets star billing, the meaty parts go to such reliable performers as Julie Harris, Ernest Borgnine, Jack Klugman,Gene Hackman, James Whitmore Warren Oates and Donald Sutherland. The story, about a well-planned and well-executed robbery (which takes place during a Football Game at the L.A Coliseum)is taut and mean.Hard-Bitten Harris and Career Criminal Brown hatch the plot, and it's up to him to round up a suitable group of thugs capable of pulling it off. And a nastier bunch has seldom been seen on screen. Donald Sutherland, in an early part as a psychopathic sadist, really makes his presence felt, as do Borgnine, Klugman and Oates (as usual.) As the leader of this group, Brown has a rather one note part. He's given little room for displaying anything much besides toughness. Diahann Carroll is wasted once again, as his ex-wife, who still loves him, and though she's the only ''good'' character in the story,she's supposedly tainted by her association with Brown. On the sidelines are seedy landlord Whitmore, and crooked cop Hackman. Both are excellent, but it's Julie Harris, successfully cast against type as the ''Brains''behind the scheme, who comes close to stealing the picture.(And, considering the rest of the cast, that's no small achievement.)Still, Hooker Joyce Jameson gets the best line, when she tells prospective client Oates: ''If you catch anything from me, it WON'T be a cold ''. Naturally, the real tension comes toward the end of the story, when the gang turn on each other, but until then, there's still plenty worth seeing.Yes, the ''Thieves Fall Out'' plot has been done before, but it's the twists and turns this movie takes that provide the excitement. Director Gordon Flemying maintains a brisk pace throughout, slowing down only for the obligatory ''love scenes''.The photography is excellent, and the same goes for Quincy Jones moody score (available on cd). The other technical credits are equally fine. This month, the ''Warner Archives'' will release the film, for the first time on home video. The DVD will be in it's original Anamorphic (Panavision) Widescreen aspect ratio, and, judging from the sample clip provided, should look fine. Hopefully, the snappy Theatrical Trailer will be provided as well. As the ads for the film proclaimed: ''Watch what happens when it's time for ''The Split''!.

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.

McClain (Jim Brown) is kicked out for spacing out on his ex-wife Ellie (Diahann Carroll). He attends a Rams game at the Los Angeles Coliseum while planning something with Gladys (Julie Harris). He beats up Bert Clinger (Ernest Borgnine). He gets into a race with car salesman Harry Kifka (Jack Klugman). He locks up Marty Gough (Warren Oates) in a vault. He challenges Dave Negli (Donald Sutherland) to shoot. These are all tests and McClain recruits them in a heist at the Coliseum. Gladys suggests Ellie, the only one without a record, to hold the money. After the heist, Ellie is murdered by her sleazy landlord Herb Sutro (James Whitmore) who steals the loot. Police Detective Lt. Walter Brill (Gene Hackman) investigates.

I usually like a good caper movie. This is fine for the most part. The start confused me a bit with McClain not explaining anything. Jim Brown is not the most compelling of actors. His size is interesting. At least, the testing is something different. The gang is filled with great actors. Everything is fine until the landlord gets into the act. He comes out of nowhere. His actions need setting up. It would have been much better if Ellie simply ran off with the money. I never really believed that the crooks would leave the money to Ellie anyways. There is lots of interesting bits but some of it frustrated me.

This film essentially begins with a man known simply as "McClain" (Jim Brown) arriving back in Los Angeles after an extended absence. To that effect, the very first person he seeks out is a young woman named "Gladys" (Julie Harris) to discuss a plan he has come up with to steal $500,000 from the Los Angeles Colosseum during an important football game. Naturally, in order to do that he also needs other people with certain skills and the ones he chooses are all specialists in their respective fields. They are also extremely dangerous when crossed. So, to rectify some of their concerns, he also brings his former wife "Ellen 'Ellie' Kennedy" (Diahann Carroll) into the scheme even though she would rather not be involved. What McClain doesn't count on, however, is a stalker who has a special interest in Ellie and monitors everything she does. Now, rather than reveal any more, I will just say that this was an interesting film due in large part to the number of twists and turns along the way. Some to my liking and others not. All in all though, I thought it was a fairly enjoyable film and I have rated it accordingly. Slightly above average.

It's a fine plan for a heist: hit the LA Rams money room during the game, and get away with some well planned confusion. The take is $550,000, and the split is six ways. Until one of their number breaks into Diahann Carroll's apartment, kills her and steals the money. The take was supposed to be in Brown's possession, and the others want their cut. Reducing the number by eliminating Brown will increase the survivors' share. As for LA Police detective Gene Hackman, he mostly wants to catch the murderer. Half a million dollars looks attractive too.

It's based on one of Donald Westlake's Parker novels about heists gone sideways, written under the pseudonym of Richard Stark. He started them out as experiments, by running each sequence as far as it would go, and then asking "What happens now?" He had no idea of what the plot would be. Plot is what happened. He had no idea of who his characters were. Character is revealed by action. And that's what you have here. The books are cold, and the movie is unwarmed by the Los Angeles sun or the heat in a steamroom. Brown isn't even a Black man, he's a man who is Black. With Ernest Borgnine, Julie Harris, Jack Klugman, Warren Oates, James Whitmore, and Donald Sutherland.

The first Rated-R movie ever made came out the same year as a similar ensemble heist picture THE THOMAS CROWNE AFFAIR, centering on selected thieves chosen to rob a giant bank...

And here, starring football hero turned movie star Jim Brown, THE SPLIT proves how long Brown was relevant...

At the time more famous than co-starring semi-newcomers Donald Sutherland, Warren Oates, Jack Klugman and Gene Hackman, he's also joined by Julie Harris and the always dependably rugged Ernest Borgnine...

The targeted score is a Rams football game's lucrative box office, which even includes a CROWNE-like multi-screen credit sequence (Brown's as smoothly-professional and sharply-dressed as Steve McQueen)...

Meanwhile Hackman plays the 11th hour token cop, right after the plot derails when Brown, initially the leader, frantically searches for both the stolen stolen money and the killer of gorgeous girlfriend Diahann Carroll...

Here's where his own gang turns violently tortuous, forcing Brown to do what he did best, both on the field and his first cinematic breakthrough THE DIRTY DOZEN, run and run fast...

But not fast enough to make this heist thriller thrilling, despite a barrage of groovy music and pulpy gun-play...

Overall, THE SPLIT never lives up to the potentially-intriguing premise or the sublime cast, who never quite click or connect together, or apart.

Star and a half Maltin review is a bit discouraging for watching THE SPLIT. And yet it`s great to say that Maltin is horribly wrong in his case, sibce THE SPLIT delivers loads of cool soft-noir.

Gordon Flemyng, the British film and TV veteran shapes a posh and groovy heist flick about a post robbery split gone bad. The cast is masterful, Jim Brown does a great Wastlake/Stark character up there with Lee Marvin in POINT BLANK and Mel Gibson in THE PAYBACK. The rest of the cast includes such hard-asses like Gene Hackman, Donald Sutherland, Warren Oates and Ernest Borgnine. So the movie emanates great energy on screen and Flemyng cuts it with typical British elegance, smart and sharp decisions.

Maybe THE SPLIT felt too calculated to Maltin, but to me, it represents the era when Hollywood entertainment still managed to assuredly deliver the authentic exploitation of a formula.

(1968) The Split CRIME DRAMA

McClain (Jim Brown) tests and then recruits a group of professionals to steal the football stadiums earnings. The groups includes, Warren Oates, Jack Klugman, James Whitmore, Donald Sutherland and Ernest Borgnine. Once the group succeeds in getting the money out then it was going to be split up amongst the group, except that not everything is going accordingly to plan in one of the most stupidest fashion. Gene Hackman also stars as corrupt Detective Lt. Walter Brill. The movie has a great first hour, but then it starts to get worst as it's progressing. And it's like the guy who killed McClain's long time wife/ girlfriend nothing happens to him, is probably the most ridiculous thing I had ever saw.

Yes, it took me three hours to watch this movie because I kept drifting off to sleep and going back to rewind. I don't understand why some reviewers insist on giving it three stars out of ten, as opposed to one. Is it because they can't accept how beyond awful a movie can be, if it has this many talented actors?

How could Diahann Carroll, at her most beautiful and provocative, fail to be appealing? Julie Harris won five Tony awards for her work on the Broadway stage. Ernest Borgnine was already an Oscar winner. Gene Hackman had just been nominated for his breakout role in Bonnie and Clyde and he would go on to win two Academy Awards. Jack Klugman and Donald Sutherland were minutes away from becoming renowned, award winning household name performers. Warren Oates and James Whitmore generally did quality work. Why would any of them allow themselves to be involved with this dreadful piece of rubbish?

Every single one of the characters was shallow, hollow, cold, inconsistent and without any likeability. Each individual scene was more ludicrous than the last one. The film was slow moving and boring. If I had the patience and inclination, I would go back and count the amount of minutes spent doing nothing but sitting around the coliseum office or traveling in a car. The storyline's been done a hundred times and the other ninety nine variations were all done better.

With so many uncertain things, in my life and in the world right now, I can't justify the time I wasted on this boring, tedious, cruel spirited and truly ridiculous movie.