The Case

Arthur Bishop (Charles Bronson, Once Upon a Time in the West) is a "mechanic"—a code word for a ruthless assassin who works for a secret international organization. Living alone and in fine wealth, Arthur's only emotional connection is a call girl (Bronson's real life wife, Jill Ireland) who offers sexual and emotional pleasure. After Arthur kills off one of the organization's top men, "Big Harry" McKenna (Keenan Wynn, The Great Race), he meets Big Harry's narcissistic son, Steven (Jan Michael Vincent, Airwolf), who seems to have an interest in the killer-for-hire business. Arthur takes Steven under his wings and teaches him the tricks of the trade, but that partnership may end up costing Arthur more than his job…he may pay with his life.

Charles Bronson had a face that could make small babies cry and grown men quiver in their boots. Was there anyone quite so physically adept at being an action star as Bronson? While he didn't possess the physique of a Stallone or a Schwarzenegger, Bronon was still as formidable as anyone else working with guns and explosions. Bronson's career stretches all the way back to the 1950s in movies like the Vincent Price chiller House of Wax and the Burt Lancaster film Apache. Bronson worked steadily throughout the 1960s, 1970s, and 1980s in all kinds of movies, but he is best known for his gritty work in director Michael Winner's 1974 revenge flick Death Wish (an enormous hit during its release), which spawned four sequels and a definitive persona for Bronson. Charles Bronson would work with winner several times during his acting career on movies ranging from the Death Wish sequels to 1972's hitman thriller The Mechanic.

The first fifteen minutes of The Mechanic are as riveting as anything that comes after. Bronson's Arthur sets up a hit on a man by tampering with his stove and tea bags, which brings about his eventual demise. It's a tense, fascinating sequence that features no dialogue, only action. I hence to say that had The Mechanic somehow been exactly like that—dialogue free and action packed—I would have been happy as a clam. This sequence is so good that it makes the rest of the film look second rate, which is a shame because as overall entertainment, it's quite good.

The Mechanic is considered part of the action genre, but it's really more of a slow burn thriller about a man coming to terms (or sometimes lack thereof) with what he has become. There are some wonderfully tense scenes, including the infiltration of a mansion and subsequent assassination using a fast food van (Lickin' Chickin apparently is what passed as a fast food name in the early 1970s). This sequence is indicative of what kind of film The Mechanic is; tense, calculated, and explosive. There are chase scenes and gunfights, but none of it is violence for the sake of being violent. At one point Arthur, guns at the ready, surprises a henchman and instead of firing on him simply clocks him on the back of the head after he makes a move. It's moments like these that make it clear Arthur doesn't want bloodshed and messes; he's often looking for the path or least resistance.

Charles Bronson is his usual stony self, even more so as a cold hearted hitman whose eyes carry the weight of the world on his shoulders. Bronson's performance is stoic and steely eyed, a laconic man of action who doesn't know how to make an emotional connection. Arthur lives in a fancy, decorated house filled with art, classical music, and other possessions of the cultured. Yet for all that Arthur has accumulated, he can't get rid of the one thing that he truly is: a cold blooded monster. At one point in the film Arthur visits an aquarium where he suddenly and inexplicably faints dead away. Even with all his rituals—pills, exercise—he can't escape the weight that comes with being a contracted hitman. The other main cast member in The Mechanic is Jan Michaell Vincent as Arthur's protege, Steve McKenna (and the son of one his targets). Vincent's good looks is in stark contrast to Bronson's granite like face, and the two end up making a dangerous duo.

I was more impressed with The Mechanic than I expected. I'm not very familiar with Bronson's filmography (I've seen a small handful of hi films over the years), but this one made me a fan. The film is a lean, mean look at the business of death for hire, and it's nearly impossible take your eyes off of Charles Bronson. That's the mark of a real Hollywood superstar.

Twilight Time's The Mechanic is presented in 1.85:1/1080p HD widescreen. This MGM title (released in a limited issue of only 3,000 units) is in great condition. Now over forty years old, The Mechanic sports a very attractive looking image that has a fine grain running throughout (it's never intrusive to the viewing). Colors appear natural and vibrant and black levels are solid. Overall this is a great transfer for a film of this age. The DTS-HD 1.0 Master Audio track is a very front heavy mix that doesn't feature much in the way of surround sounds. However, dialogue, music, and effects are all clear and distinguishable. Also included are English SDH subtitles.

Extra features on this first ever release of The Mechanic include an isolated score track of Jerry Fielding's music score, an audio commentary by cinematographer Richard H. Kline and film historian Nick Redman, and an original theatrical trailer for the film.

The Mechanic is a great example of what can be done without the benefit of a $150 million dollar budget and quick editing. While some may find the action slow, I was riveted to see how the film's fascinating plot would play out. Twilight Time's work on this title is good, and with only 3,000 units available I'd suggest finding a copy now before they sell out.

Case Number 27770: Small Claims Court

The Mechanic (1972) (Blu-ray)

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