By Nicholas Anez
Business isn’t exactly booming for private detective Peter Joseph Detweiler, better known as P.J. His makeshift office is in a bar belonging to his only friend Charlie, his sporadic jobs include entrapping cheating wives and he is not above drowning his sorrows in liquor. So when wealthy magnate William Orbison offers him a substantial fee to be a bodyguard for his mistress, Maureen Prebble, he jumps at the chance. What P.J. doesn’t know is that Orbison has already hired someone else to commit a murder. How this murder and the shamus’s new job intersect is the crux of the terrific 1968 neo-noir from Universal, P.J. (U.K. title: New Face in Hell.)
Private detectives were prominent in the late 1960s and included Harper (1966), Tony Rome (1967), Gunn (1967), and Marlowe (1969). P.J. appeared in the midst of this surplus, which may account in part for its box office failure.
Business isn’t exactly booming for private detective Peter Joseph Detweiler, better known as P.J. His makeshift office is in a bar belonging to his only friend Charlie, his sporadic jobs include entrapping cheating wives and he is not above drowning his sorrows in liquor. So when wealthy magnate William Orbison offers him a substantial fee to be a bodyguard for his mistress, Maureen Prebble, he jumps at the chance. What P.J. doesn’t know is that Orbison has already hired someone else to commit a murder. How this murder and the shamus’s new job intersect is the crux of the terrific 1968 neo-noir from Universal, P.J. (U.K. title: New Face in Hell.)
Private detectives were prominent in the late 1960s and included Harper (1966), Tony Rome (1967), Gunn (1967), and Marlowe (1969). P.J. appeared in the midst of this surplus, which may account in part for its box office failure.
- 1/8/2018
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
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