The MovieClub podcast was kind enough to ask me to join them late last year for a roundtable discussion of John Frankenheimer’s 52 Pick-Up and Walter Hill’s The Driver. I had a great time, learned a thing or two about Elmore Leonard (thanks Kurt!), discovered a link between 52 Pick-Up and Jacques Demy’s Model Shop (thanks Jandy!) and used Google Hangout for the first time. This made the whole conversation almost exactly like a real roundtable since it included video of whoever was speaking in the main view and the rest of us down along the bottom. It also enabled us to drop images into the stream during the conversation, so we could illustrate several points. Pretty spiffy stuff.
Anyway, in preparation for the discussion, I rewatched Walter Hill’s cult-fave The Warriors and was more than happy to do it. It had been quite a few years since I’d seen it, but it held up great and doesn’t suffer from the standard dated feel that many 70s and 80s films typically do. It’s not that it doesn’t contain relics of 30 years ago, but just that it doesn’t feel stuck there. As a matter of fact, it even has a vaguely futuristic feel to it – not in the shiny-chrome kind of way or even as a post-apocalyptic tale, but simply as a point in time in the city that might be headed our way. The one thing that really impressed this time around was the film’s opening: those first seven minutes set up the story, characters, environment and even background in an impressively efficient, creative and engaging way. I just picked up the BluRay and was once again wowed by that opening sequence.