99 and 44/100% Dead!

John Frankenheimer's post modern stab at the crime genre comes hot off the heels of Michael Ritchie's Prime Cut (from the same author no less), only the tone is more cutesy and the body count is nearly tripled. After a Pycal-inspired opening and an excellent underwater graveyard montage, we are introduced to pearly pistol gripped gangster Richard Harris who's en route to Chicago (?) to help win a dangerous mob war. The substandard mafia plot sits second tier to the film's sporadic comedy spoofing and mugging, much of what both fails and succeeds simultaneously at the hands of its dramatic director who must have been at the peek of his well publicized cocaine binge. Harris, with his balding curl mullet and wide-brimmed glasses resembles a young Michael Caine or Woody Allen depending on the lighting and camera angle, but performs his actions and delivers his dialog like a stone cold stoic; the juxtaposition is startling and dare I say cool as hell. Action scenes come out of nowhere and are framed and executed with professionalism, including a crazy ambush on an elevated bridge, and Chuck Conner's interchangeable James Bond claw which can alternate between knives and sex toys given the occasion. Much maligned and obscure gem. The skeletal dead humans and accompanying narrator reminds me of the Pirates of the Caribbean ride at Disneyland.

The critics hate this movie (Maltin included) because they can't place it in a category. It is not a serious mob film (Godfather) nor is it a comedy (Johnny Dangerously) nor is it bumbling mob dark comedy (a la the recent Bruce Willis - Matthew Perry vehicle). Rather this is a cartoon. Note the introductory cartoon credits. The opening underwater scenes (two) and closing scene (envelope construction) are absolutely unique to American filmcraft and you don't know whether to laugh or be horrified. The lead character is an Englishman, brought over by an American mob boss and who must take off his glasses to shoot and carries automatic pistols with flowers carved in the ivory grips. Is this over the top or what? The enemy hitman has a hook (due to an amputation at our hero's hands) which he replaces with a wine bottle opener, artifical flowers, pruning shears, etc. Our hero also has a much younger, beautiful girlfriend (daytime teacher - nighttime club dancer wearing a feather top) who waits for his return hoping that this time he will make her his own (see 1000 other movies with that same device). Our hero tutors the younger mob wiseguy and both their girlfriends are kidnapped and abused by Mr. Big. Okay, so some of the movie is cliche and some is esoteric. The ambush at the bridge sequence is as visually stunning as any serious mob film. The shootout at the laundry scene is as good as the same scene in The Fugitive or the ending to Terminator. The sequence where Harry is pinned down by a sniper and his boss resces him by pulling up in an armored Rolls-Royce is great as the actors have their conversation while rounds skip off the roof. This is then followed by driving down a would be bomber who carries a bundle of dynamite like Wyle E. Coyote. Being filmed in Seattle, Florida and Los Angeles you never know whether you are supposed to be in New York or Chicago or where. Look for a Confederate Battle Flag during the parade scene where Harry re-enters the crowd. Look for Burt Young (Paulie from Rocky) as an uncredited mobster escorting Harry to see Bradford Dillman. You will be watching a one-of-a-kind movie, maybe not great or even good, but a movie unlike any other. Enjoy it for what it is.

The title refers to the now very old Ivory Soap claim of 99 and 64/100% Pure - and there is another "old" meaning for 'pure' that would be known to Frankenheimer and Dillon. It's another word for the material tanners would use in browning leather - dog turds. This should have been a clue to the humor to follow.

This is an interesting and odd film.

"99 and 44/100% Dead!" is usually known as one of John Frankenheimer's lesser movies, but it's entertaining enough for its short run. This typical gangster spoof casts Richard Harris as a hitman hired by his uncle due to a challenge by a rival gangster. I moved to Seattle last year, so it was neat to see some of the places where I've been (namely Gasworks Park). They don't say where it takes place, but most of it does appear to be the Emerald City.

Yeah, it was pretty much what I expected: lots of gunfire, hot babes, and cool fight scenes. Frankenheimer later admitted that he didn't really know what kind of movie he was making. I guess that after "The Birdman of Alcatraz" and "Seven Days in May", he felt like he was getting held to high standards. As far as I'm concerned, this movie is all about just being funny, and it is. Good enough.

It's certainly different, but it's not very good. Richard Harris plays a hit-man hired by a mob boss to knock off a rival. Director John Frankenheimer starts things off with a bang with Roy Lichtenstein inspired titles and a pretty fun shoot out/car chase. The film itself is so slow that quirky touches like a giant balloon sculpture, a lesson on cement shoes and an incorporated brothel offer a lot of relief. Harris looks otherwise engaged and Ann Turkel, though gorgeous, isn't much of an actress...and she's certainly too classy to be convincing as a school teacher/dancer named Buffy! A very old and tired looking Edmond O'Brien plays "Uncle" Frankie, the mob boss --- he looks like a puffy Humphrey Bogart and sounds like a near dead Jason Robards. Connors " plays "Claw" and clearly has a lot of fun with his prosthetic. Bradford Dillman is awful as O'Brien's rival...he affects some sort of Brooklyn accent even though no one else does AND the film is set in L.A. Henry Mancini's jazzy score is great, but becomes increasingly intrusive as the film progresses.

Flaws aside, the film is surely a high-water mark in the spotty career of Richard Harris...he went on to star in ORCA, THE CASSANDRA CROSSING, etc.