Movie Mahal

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I must have TCM’s greatest hits on speed dial. Howard Hawks is probably a major link when it comes Michael Mann’s proletariat time obsessed professionals and potentially Melville’s polar films but George S Scott’s Harry Garmes, an ex-driver for organized crime and modelled on Bogart, seems to be a notable precursor to the non-conformism of protagonists like Frank in Thief. Richard Fleischer’s The Last Run is a lean, fatalistic existential thriller and although it has a resolutely American cast, the overall tone is very European indeed. Arguably it may appear to be an anomaly in the work of Fleischer but what it really points to is his journeyman status. Moreover, the talent on this one is very impressive; Alan Sharp (Night Moves, Ulzana’s Raid) on script duties, Bergman’s collaborative DoP Sven Nykvist, a nifty score by Jerry Goldsmith and editing by Russell Lloyd who was Huston’s regular editor.

Fleischer often worked within specific genres but this one seems altogether unconventional, even borderline experimental in the decision to shoot mainly in Europe and in location in Portugal/Spain, and a very minimalist plot that finds Harry smuggling an escaped killer across Portugal and Spain into France in his supercharged BMW 503. Yet, Fleischer was literally parachuted in to salvage what was a troubled production with a complicated history, with early involvements from John Boorman and later on set fights between Huston and Scott. Having been out of the game for a long spell, Harry’s fate is inevitable and the downbeat ending is unexpectedly moving since Harry’s death is framed by Tony Musante’s killer as both insignificant and pitiful. A hybrid work in many ways; neo noir, the chase film, action and the thriller all intertwine.