Now I know this might seem like a shameless way to get other people to find loads of 1970s crime…
He didn't want to be hero... until the day they pushed him too far.
Watermelon farmer Vince Majestyk (Charles Bronson) goes after the Mob, when they try to strong arm him to use their melon picking crew.
Bronson doing exactly what he does best: being a complacent, dedicated melon farmer and the baddest mother f-er with a rifle simultaneously. This film wastes no time getting to the good stuff. Bullets and flipping cars and explosive chaos all commence within the first 20 minutes but within the framework of a free form yet dryly straightforward story that pits Bronson as the ultimate fugitive rancher that you want to see him be. I'm slowly but surely piecing together the secret sauce that made Bronson films so effortless in the 70s. Between this, The White Buffalo, Death Hunt and so many others, the secret might be that his films are fun rides without being bogged down by plotting. This film…
Charles Bronson grows watermelons. It is time to pick the melons and get them to market. But before he can get his melons to market he has to deal with help issues and a mob hitman that is hell bent on stopping the melon process and killing Bronson. First hour of the movie is interesting.....but the second half of the movie is filled with bad editing, bad logic and a weak finale. Final thought: Although this is one of my mom's favorite Charles Bronson movies....I have to say this is one to skip. This is ranked 19th of 57 Bronson movies on my Charles Bronson Cogerson Movie Score table. cogersonmoviescore.com/charles-bronson-movies-best-to-worst.html
I did come up with a thought while watching this one. I think Jason Statham is this generation's Charles Bronson.....hell he has already done one Bronson remake.
I can't believe this script is written by Elmore Leonard. Other than Bronson approaching anything coming his way without a care in the world, it is just so boring, and has astonishingly little interest in details. Not to mention nonsensical, with characters almost never choosing actions that are benefitial to them or their cause.
I guess, writing as many crime stories as he has, he just had no words left for this one.
The lack of words does of course fit Charles Bronson's MO, but even he doesn't come out the other end with much gusto intact. Lee Purcell is horribly miscast and Al Lettieri is there for physical presence and little else.
The same year Bronson played Paul Kersey, he played another tough as hell bad ass named VINCE MAJESTYK! Vince here is melon farmer who takes absolutely zero shit from anybody. Thus, classic Bronson stuff. this is a great 70s two fisted flick that knows exactly what it is and gives the people what they want. action and Bronson punching people & telling them to go to hell.
No doubt, 1974 was the year of The Bronson.
Used the latest Establishing Shots to discuss my new fascination with Charles Bronson as an action body: a very strange choice until you begin considering how he uses his personality to be unassuming to make the work of violence all the more surprising.
This is another strong entry from Fleischer. Very relaxed in its plotting and never rushed, with a lot of space for the actors to move around in the frame, which takes away a sense of fatalism and thus gives the effect of creating a universe of choices. The final action sequence becomes the opposite of Violent Saturday, with the hero trying to draw the villains out instead of the other way around. It still has that same…
ONE OR TWO SPOILERS
No-one seems to have a particularly great theory as to why Elmore Leonard's stories have largely failed to translate particularly successfully to feature films.
Having never read one of his books and, due to general restlessness and spending most of my spare time eating Jaffa Cakes, it being unlikely that I ever will, I don't have a theory either. Good or otherwise. Maybe Leonard's just largely been unlucky with the people that have adapted his stories. Or maybe they're just not the recipe for mainstream box office and widely critical success that some people think they are.
Aside from Get Shorty (which I didn't really like anyway) and Be Cool (which I haven't seen and am…
If only that mob hit man had given Charles Bronson his sausage it would of prevented a lot of bloodshed.
Charles Bronson protecting his own and fighting for the little guy. Fun flick where Bronson is an ass-kicker. Al Lettieri is the bad guy who can't leave things alone (fortunately for me as a viewer). Al does a great job but doesn't seem like a smart hitman who is supposed to be elite. Couple of lovely ladies in this one, Linda Cristal and Lee Purcell. Paul Koslo of Omega Man fame does a great job playing a self-proclaimed tough guy. Some beautiful landscapes.
"Hey, you know what we got? Motherfuckin' Charlie Bronson! Mr. Majestyk!" - Drexl in True Romance
"I got a melon to pick." - Charlie Bronson
Mr. Majestyk isn't great art, but then Charles Bronson hasn't often been in many movies (Once Upon a Time in the West and possibly the Great Escape as exceptions) that might even be considered full-on 'films'. He's a movie-star, and on the B-side of the record, so to speak, of 1974's Death Wish was this little diddy where he plays, of all things, a melon farmer. But don't let that fool you into thinking this movie's a campy push-over. The first part of that might be true here and there, as it's hard to avoid…
Why does he keep asking people what they know about melons? WHAT IS THERE TO KNOW
Charles Bronson has the face for a Elmore Leonard adaptation. He is Mr Majestyk, a put-upon man who just wants to grow his watermelons in peace, unfortunately, he manages to get entangled with Al Lettieri's hitman. Lettieri is probably the only actor in the 1970s that could make Bronson look physically appealing by comparison. He absolutely has a face for Leonard.
The great thing about Mr Majestyk is that it is a slow-burn Charles Bronson film. It is directed by the always interesting Richard Fleischer and it never feels the need to be overblown, or exploitative. It is a restrained 1970s Bronson film, and one of the best films he ever headlined. Along, with a film like Hard Times.
The film is lean and tough. It has good dialogue, good shoot-out and good Bronson. I thoroughly enjoyed it.
Mistaken as mere Bronsonsploitation, "Mr. Majestk" creates a politically fascinating microcosm: what does it says when an assassin (a hired gun for politicians) holds more economic clout than anyone in the film's universe? Clearly the political power is held by the most unscrupulous of moral characters, and those that face oppression as a result (veterans, migrant workers, and capitalism's idealistic/objective drive) are held down and inflicted with violence. The scene in which Renda displaces Majestyk's migrant workers is politically revealing. Were this movie to come out today, it would be considered a progressivist masterwork of genre.
It should be no surprised either that the most "Bronson" moment, where Majestyk finds his watermelon harvest shot to bits by Renda, is also…
Low budget, good story, nicely underplayed by Bronson. Villains one dimensional.
Sorta like Death Wish, but instead of assaulting Chuck's family the bad guys assault his melons. Weirdly, he shows more emotion over the loss of those melons than he does in any of the DW movies.
Bronson is so hard in this that he pours salt in beer before drinking it and the movie never even calls attention to it - every time he says the word "melons" I giggle like a school girl, and he says it SO MANY TIMES. This is probably a tad slow for some people but it's total comfort food for me. I've seen people take issue with the implied politics of some of Bronson's action fare (it's never something that's bothered me) but there's no grey area here - just Chuck trying to get by and look out for his fellow working man. And it rules.
I wish Lee Purcell had done more genre work.
Elmore Leonard idea of a 70s money panic film: a revenge flick about a crop of gunned down watermelons. Lean to the point direction by Richard Fleischer and a typical strong physical turn by Charles Bronson. It is a primary film based in some rather direct primary needs, good old American cinema pragmatism appliedwith charge intensity that added to material and the stoic manner in which it keeps upping the rivalry between Bronson and Latieri work wonders until the mostly silent and direct final confrontation.
All the films I could find that QT uses as reference points in his films.
1-48 Reservoir Dogs (Django of…