Vigilante (1983)

Even though the original "Death Wish" dates from 1974 already, the popularity of "vigilante" movies only truly skyrocketed during the late 70's and especially during the early 1980's. This shouldn't come too much as a surprise because the early 80's were a glorious period for all kinds of cheap and gritty exploitation cinema. Vigilantes and neighborhood watches are themes that all too easily lend themselves for gratuitous violence, sleaze, controversy and provocative footage. Some movies nevertheless still attempted to narrate a more intelligent and engaging story, like for example Lewis Teague's "Fighting Back", but most contemporary vigilante flicks are simply an excuse to show as much extreme violence as humanly possible, like parts II and III of the "Death Wish" series, "Tenement: Game of Survival" and "The Exterminator". This particular vigilante movie – with the most basic yet straightforward title imaginable – situates itself somewhat between the two categories. "Vigilante" contains several sequences that depict harsh and exploitative violence, yet surprisingly enough it also attempts to bring a proper story and detailed character drawings. I deliberately use the words "surprisingly enough", because the director – William Lustig – isn't exactly known for subtlety or adequate storytelling. The man became infamous thanks to "Maniac" a few years earlier and that film is now, 30 years later, still one of the most prototypic examples of cruel and disturbing exploitation cinema. Therefore I must admit being impressed with the plot and the atmosphere of despair William Lustig tries to generate. Eddie Marino is an earnest factory worker and lives with his wife and young son in one of New York City's grittiest and gang-infested neighborhoods. His friend and co-worker Nick often insists for Eddie to join the neighborhood vigilante squad, because the Puerto Rican gang is becoming more and more powerful while the police appears less and less in the streets, but he refuses because he truly believes in the country's juridical system. Even when Eddie's wife is found stabbed and his little boy murdered, he still has faith that he US court and the honorable judge will righteously punish the culprit. But the honorable judge is corrupt and the whole system is rotten, as the guilty gang members are acquitted and Eddie himself has to go to jail for 30 days for assaulting the judge. Whilst in jail, the idea of joining Nick's vigilante squad suddenly becomes all the more appealing. This may perhaps disappoint some die-hard exploitation fanatics, but admittedly "Vigilante" is a lot less graphic or sickening than – say – the "Death Wish" sequels for example. The assault on Marino's household is rather nasty and so are a handful of other scenes, but clearly the emphasis of the film remains on Eddie's emotional and mental journey. Lustig does a terrific job in depicting New York's suburbs as menacing ghettos where danger lurks behind every corner and literally nobody can be trusted. He should know, of course, as Lustig himself grew up in The Bronx. Robert Foster is excellent is his lead role as the tormented Eddie Romero, but the most memorable roles can be found in the supportive cast. Fred Williamson, as the founder and commander of the vigilante squad, is deliciously deranged and actually a lot more dangerous and fanatic than most of the gang members. Veteran actor Woody Strode briefly appears as a fatigue but inspiring inmate, Vincent Beck is terrific as the corrupt judge and my absolute favorite supportive character is Joe "Maniac" Spinell's sleazy and loathsome attorney Eisenberg. He shamelessly defends the assailants and knows exactly how to manipulate a court and obtain minimum punishments for heavy criminals.

William Lustig's follow-up to MANIAC concerns a blue-collar worker (Robert Forster) whose wife and child are attacked by a gang of punks (right out of John Carpenter's ASSAULT ON PRECINCT 13), with a crooked judge allowing one of them (the one who knifed the wife) off without time served. Instead, Forster is sentenced to 30 days in prison (Rikers, presented as if Hell behind bars) for trying to strangle the judge (and rightfully so) while his co-workers (led by Fred "The Hammer" Williamson) have formed a vigilante trio after the head honcho behind the drugs trafficking to teenagers on his street. When Forster gets out of prison he wants revenge on those who have wronged him, joining up with Williamson and his men.This movie is essentially Lustig's DEATH WISH; Forster stepping into the Bronson Paul Kersey role. Williamson is one cool customer, though, and the New York locations offer flavor, grit, and color heightening the action scenes and adding potency to the subject matter. While not exactly a nightmarish wasteland as the city Bronson must contend with in DEATH WISH III, New York City sure seems dangerous enough through Lustig's lens. Nothing original and Forster, while getting revenge on the main culprits behind his loss (his son is shot-gun blast with the killer chased by Forster in Lustig's own French Connection street car chase, Forster's wife leaving him because of her trauma), doesn't necessarily get as even on the entire group of the Headhunters as Kersey did in DEATH WISH II. The film features plenty of use of blood squibs as one scene shows the Headhunters gang opening fire (with machine guns) on a patrol car, blowing away two policemen, with Williamson shot-gun blasting a wealthy drug supplier masquerading as an Italian businessman. Woody Strode has a cameo as a prisoner in Rikers who saves Forster from a shower room rape, certain to elicit applause—he leaves more of an impression with a few minutes than many do with two hours. Williamson's charisma alone adds value to this movie, even if it does cover familiar ground. Joe Spinell has another memorable supporting part as an oily attorney who seems to be in cahoots with the judge, both willing to use the courts to get scumbags off if they can afford them.

Vigilante (1983) *** (out of 4) Working class Eddie Marino (Robert Forster) has his child killed and wife severely beaten by a group of thugs. He believes in the law so he allows the courts to handle it but the criminal gets off without any time so Eddie joins a vigilante group led by his friend (Fred Williamson) and goes out for revenge. It's funny but when DEATH WISH was released we got countless exploitation films about vigilantes and it must have felt like deja vu when DEATH WISH II made a ton of cash at the box office and then more rips came. I think it's same to say this movie was inspired by the DEATH WISH films but also various Italian crime movies from the 70s. If you're looking for art then I'd recommend staying away from this but if you like "B" exploitation movies and are a fan of the vigilante genre then you should eat this one up. This was Lustig's first movie after MANIAC so I was a little surprised to see how non-violent this thing was. Sure, we've got some blood and some shootings but the movie is pretty tame in terms of the violence and DEATH WISH II is a lot more graphic. The attack sequence here contains one big jump sequence that works extremely well and Lustig's direction handles it perfectly and builds up some nice suspense. Lustig's direction also works perfectly in the scenes inside the courtroom where we're witnessing the bad guy getting away with the crime. The way he gets away with it and how big of a jerk the judge is are both overblown to a point but the emotion is still there and effective. The film isn't one with a message and I don't think it's trying to say anything too deep. We've got a bunch of scumbags and Forster and Williamson are here to kill them. That's pretty much all the film offers and that's more than enough as both actors are good here in their roles. Forster is more laid back and calm but it mixes well with the tougher, more vocal Williamson. The supporting cast includes some familiar faces including Richard Bright (THE GODFATHER), Don Blakely (BRUBAKER) and Joe Spinell as the crooked lawyer. We even get Wood Strode is a very memorable and tough part. The film has a lot of weak points, including some very silly dialogue, but people aren't coming to this film and expecting CITIZEN KANE. They're expecting light entertainment and Lustig and company deliver just that. It's a fun way to kill 90-minutes so fans of the genre should enjoy it.

Director William Lustig's stirring low-cost vigilante picture is something a little more than your exploitative gung-ho revenge story, as while the material is lank and far-fetched its still implodes with some minor goods. Honestly the first time I came across it, I was left under whelmed and this can be attributed to the direction it went. The story has two sub-plots running, which would eventually come together, but the focus on one over the other really destroyed what could have a lasting impression. On one side of the coin has a small group of local vigilante's led by Nick (an inspired Fred Williamson) cleaning up punks that the law doesn't seem to want to touch and on the other side of the coin follows that of Eddie Marino (Robert Forster), a working class New Yorker coming home to find his wife has been brutally beaten and toddler killed. He's approached by Nick to join their cause, but refuses to let the justice system hand out the law, but after those who were responsible for the attack is left off with nothing but a slap on the wrists. It sees Eddie take it upon himself to hand out the punishment.The constant shifts in the story seemed to get in the way of cooking any real sort of emotional hold. The cult actors do the best with what they got. Robert Forster's streamlined, if cold approach works and Fred Williamson's full-blooded bad-ass portrayal is nothing that's unexpected. Don Blakely and Willie Colon make for great, nasty pair of thugs. Also in the line-up are Richard Bright, Rutanya Alda, Joseph Carberry, Steve James and Carol Lynley. In brief, but welcoming inclusions are Woody Strode and Joe Spinell as a scummy lawyer.The material is quite heavy-handed in what it's got to say on a flawed justice system, as Williamson spits out speeches about not living in fear and eventually the line between right and wrong is blurred. In the end don't read too much in to it. Lustig's pacing is on the spot and direction suitably controlled, as while not overly explicit it manages to have a brutal and gritty pulse. There are some intense interplays, and a disturbing moment or two, but in the end it's not particularly gripping like I would have hoped. It's quite underplayed in that department. Jay Chattaway's thumping score has a blaring sting and harrowing cloud that effectively balances the moods.