Blast of Silence (1961)
In some ways, the filming and the cool grey timbre of this film are so singular and evocative, you really have to watch it. In this way it reminded me of a gritty, New York version of the 1958 Elevator to the Gallows (set in Paris). They both have some of the most beautiful, evocative scenes of people just walking the streets of the city, day and night. In "Blast of Silence" you get taken to several parts of New York, unedited, shot with a simple but elegant intuition for the place. This is a movie by New Yorkers about New York.
But the plot, about a lone killer on his last dubious assignment, is a strain. Beyond the convincing despondency and isolation of the leading actor (Allen Baron, from Brooklyn, who is also the director), the cast struggles to be relevant. The one other shining performance is the gun dealing and rat lover, played by Larry Tucker with a kind of relish for the unsavory dirty aspects of his part. Great stuff.
If you accept that the story isn't much, by itself, and watch it for the scenes of the city, for the impressions of ordinary New Yorkers at the time of Kennedy's election, you will be really wowed. Right from the first shot, the low budget hand held camera on a train in a tunnel, going on and on until finally finding the light of day, to the last scenes in a a light, windy, driven snow in the Meadowlands, it's a thrilling, original ride. The filming has a gritty, everyman quality that seems to come right from art school without the affectation. It really is worth it just for the scenes, and the urban scenery.
In some ways, the filming and the cool grey timbre of this film are so singular and evocative, you really have to watch it. In this way it reminded me of a gritty, New York version of the 1958 Elevator to the Gallows (set in Paris). They both have some of the most beautiful, evocative scenes of people just walking the streets of the city, day and night. In "Blast of Silence" you get taken to several parts of New York, unedited, shot with a simple but elegant intuition for the place. This is a movie by New Yorkers about New York.
But the plot, about a lone killer on his last dubious assignment, is a strain. Beyond the convincing despondency and isolation of the leading actor (Allen Baron, from Brooklyn, who is also the director), the cast struggles to be relevant. The one other shining performance is the gun dealing and rat lover, played by Larry Tucker with a kind of relish for the unsavory dirty aspects of his part. Great stuff.
If you accept that the story isn't much, by itself, and watch it for the scenes of the city, for the impressions of ordinary New Yorkers at the time of Kennedy's election, you will be really wowed. Right from the first shot, the low budget hand held camera on a train in a tunnel, going on and on until finally finding the light of day, to the last scenes in a a light, windy, driven snow in the Meadowlands, it's a thrilling, original ride. The filming has a gritty, everyman quality that seems to come right from art school without the affectation. It really is worth it just for the scenes, and the urban scenery.