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The Grissom Gang (1971)

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10 out of 11 people found the following comment useful :-
The best movie of the rural-America-gangster genre, 2 maggio 2000

Author: pzanardo (pzanardo@math.unipd.it) da Padova, Italy

If a movie deserves the definition of hard-boiled, this is "Grissom Gang". The characters seem to know just a way to face any problem, either major or minor: kill, kill, kill. The setting in the rural, poor Midwest in the years of Depression is both evocative and grinding: it gives the audience a feeling of bleakness and unavoidable violence. The story is carefully constructed, exciting, full of suspense. The characters are very well shaped, much care is given to details. The direction by Aldrich is superb: the action scenes are beautifully filmed, the timing is admirable. In the development of the plot we don't find those failures of strain, digressions and intervals of bore which were so common in the movies of those years, under pretension of style. All the actors' performances are outstanding. Scott Wilson draws, with masterly acting, the extraordinary character of Slim Grissom. At first, he seems just a half-witted hooligan, but we quickly realize that he is the toughest of them all, looking at other characters' behavior: they are all scared of him, even his gang mates. Actually, the smart gangster Tony Musante seems to take fun in teasing the stupid Slim: but it is clear that this is by no means a good idea. Wilson's acting gives likelihood to Grissom's possessive, infantile, somewhat touching love for Miss Blandish (Kim Darby). He states that, to save her, he is ready to kill his own mother: we have already learned to never underestimate his words. Kim Darby deserves a special mention, in the role of the spoiled girl who learns to survive at all costs, sexual abuse included. She is great here, she was extraordinary in "True Grit": I wonder why she didn't become a major Hollywood star. Despite some minor faults, "Grissom Gang" is excellent, by far better, in my opinion, of other celebrated movies of the same rural-America-gangster genre, such as Penn's "Bonnie and Clyde", Altman's "Thieves like us", Corman's "Bloody Mama".

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9 out of 10 people found the following comment useful :-
Wilson's Most Intense w/demented haircut!, 3 luglio 2004
Author: shepardjessica da sparks, nevada

This little gem of a film was treated as exploitation trash, but a fascinating kidnapping tale with unrequited love and dysfunctional family relations. Scott Wilson (so brilliant in In Cold Blood) is incredible as Slim, the lonely offbeat member of the gang who is somewhat understood (but very edgy). Throw in Kim Darby, Tony Musante, Irene Dailey (more demented than she was in Five Easy Pieces), and Joey Faye as Woppy, how wrong can you go?

There's a good sense of time period. This film is nothing compared to Bonnie and Clyde, but closer to Thieves Like Us. Connie Stevens is an added attraction. Give these folks a chance. Rated 7 out of 10.

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7 out of 7 people found the following comment useful :-
"Well, It's Better'n Bein' Dead, Ain't It?", 3 febbraio 1999
Author: Michael Coy (michael.coy@virgin.net) da London, England

*** This comment may contain spoilers ***

A wealthy society girl is kidnapped by small-time hoodlums who are bushwhacked in their turn by a bigger, meaner gang. During her ordeal as a captive, Miss Blandish 'does what she has to, to stay alive'.

The 1939 novel "No Orchids For Miss Blandish" is the source for this film. In its time, the book was attacked (not least by George Orwell) for being a work of prurient, sadistic pornography. The film remains faithful to the original in that it deals enthusiastically in squalor, cruelty and sexual incontinence.

In the sweaty, malodorous world of the 1930's criminal underclass, the crooks show no mercy to those who fall into their clutches and expect no quarter for themselves. The rich are no moral paragons, either. They behave boorishly at social functions, and John Blandish regards his daughter as a piece of property, losing interest in her when he realises that she has become 'soiled goods'.

Prohibition is shown to be the root of the nation's ills. Outlawing alcohol leads to excessive consumption, enriches the criminals and contributes to a feverish atmosphere of self-indulgence.

The action is set in the empty, impoverished MidWest of the Depression. These small-time criminals cannot even lay claim to the dubious glamour of the Chicago gangsters. This is the world of Bonnie and Clyde rather than Capone and Luciano, and indeed the film owes much to Warren Beatty's groundbreaking "Bonnie and Clyde", made two years earlier.

Kim Darby gives a towering performance as Barbara Blandish. The role could hardly be more radically different from her first starring part, two years previously, as the asexual Mattie in "True Grit". She triumphs as the "uppety little bitch" who learns gradually and painfully that if she is to cling to life, she is going to have to descend to the gutter. Barbara grows as a person by virtue of the suffering she undergoes.

The other truly outstanding performance is that of Scott Wilson as Slim, the lecherous simpleton. Wilson is terrific in the role of the feeble-witted knifeman who gets turned on by killing people, but who remains in essence a child. Slim forms an attachment to Miss Blandish, and is ennobled by this hopeless, wrongheaded love affair. When he first makes sexual advances towards her, she rejects him in horror "because you're odious". Eventually, she comes to see the good in Slim, and Wilson gives his character a vulnerability and a yearning to outgrow his limitations which ultimately make the "cretinous halfwit" a sympathetic character.

In this nasty world of lowlifes and hustlers where men are gunned down and left to die in urinal troughs, David Fenner (Robert Lansing) is a tough and astute investigator who can more than hold his own against the bad guys. Scamming the scammers, he finally tracks down the kidnappers much more efficiently than the police are able to. Played by Lansing with an amusing tongue-in-cheek gravitas, Fenner is the one untarnished hero in the whole film.

Connie Stevens camps it up in delightful self-parody as Anna Berg, the classic dumb blonde speakeasy singer, the moll who's always teetering on the verge of prostitution. Eddie is played by Tony Musante as an impressive study in charming, but heartless, villainy. Eddie exploits Anna, murders potential witnesses and torments the slow-witted Slim, all without the vestige of a scruple.

Ma Grissom (Irene Dailey) is the ugly-natured mastermind who runs the shabby little gang. She gives her captive debutante a horrible beating for trying to escape, and her whole existence is mean and joyless, but she attains a kind of decency in the final bulletfest.

As the film draws to a close, it is not clear whether Miss Blandish has grown to love her tormentor, or merely to pity him. This is a satisfying conclusion. Open love would be too easy and sentimental. We are left pondering whether sex and love are distinct experiences, and marvelling that tenderness can flourish in this unpromising terrain.

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8 out of 10 people found the following comment useful :-
One Of The Sweatiest Films Ever!, 16 agosto 2001
Author: shark-43 da L.A. CA

Man, is this an early 70's movie or what?? Made around the time realistic brutality and violence were embraced, this film makes sure you embrace it too. The camera stays on the murder victims for a long period of time and makes sure the blood is red, REALLY red. Machine gun riddled bodies litter this fun mess of a movie. At the height of Kim Darby's fame, she gives it her all, desperately trying to make ridiculously written scenes work with Scott Wilson, who chews up the garishly decorated scenery. (Wilson's work with Robert Blake in IN Cold Blood still ranks as some of the finest in American film). The actress playing Ma is so over-the-top you gotta love it. It lookslike she was directed with Think Bette Davis!! She snarls, whoops, shouts, I even think they give her a moustache. And boy do they sweat in this movie. The lighting is designed to bring it out and everybody sweats. The cops sweat, the gangsters sweat, the stoolies sweat, even Connie Stevens sweats!

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5 out of 5 people found the following comment useful :-
THE GRISSOM GANG (Robert Aldrich, 1971) ***, 28 giugno 2006

Author: MARIO GAUCI (marrod@onvol.net) da Naxxar, Malta

Given its considerable reputation, it seems incredible to me that I've had this film on VHS for over a decade but only now have I gotten round to watching it! Actually, I opted to have a go at it finally after having just watched another James Hadley Chase adaptation - CRIME ON A SUMMER MORNING (1965) - the previous day...but also because, distressingly, many VHS tapes I've had for a very long time are starting to rot on me!!

Made in the wake of the gangster-film revival spawned by the runaway success of BONNIE AND CLYDE (1967), it can also be seen as a companion piece to Roger Corman's BLOODY MAMA (1970). The film was much criticized at the time for its violence - coming in what is perhaps the cinema's most notorious year, with the likes of A CLOCKWORK ORANGE, THE DEVILS, DIRTY HARRY, GET CARTER and STRAW DOGS! - but its gallery of grotesques is at least just as disagreeable!! It doesn't really have any sympathetic characters, but "The Grissom Gang" itself is such a lurid menagerie of harridans, dimwits and sleazeballs that one would doubtless need a shower after having spent two hours in this company! For what it's worth, the film is extremely well made (compelling, richly-detailed, exceptionally acted) and even very funny if one is attuned to the director's uniquely absurdist and delirious mind-set.

Still, its general unwholesomeness may well have curtailed Kim Darby's cinematic career - though here she demonstrates remarkable maturity when compared to her fresh-faced sparring with John Wayne in TRUE GRIT (1969). Scott Wilson's role is perhaps the best he ever had (even keeping in mind his impeccable work in both IN COLD BLOOD [1967] and THE NINTH CONFIGURATION [1980]) - though his dumb backwoods hoodlum, alternating between mother-fixation and drooling over Darby, eventually overstays its welcome. Irene Dailey's relentlessly overwrought performance as Ma Grissom (needless to say, the actress' most significant role), then, borders on camp and matches Shelley Winters in BLOODY MAMA. Tony Musante embodies the stylish side of crime with his chic attire and playboy ways, who's bound to clash with Wilson over attractive kidnapped heiress Darby. Also notable in the cast are Connie Stevens as Musante's ill-fated moll, Robert Lansing as the journalist investigating the kidnapping case and Wesley Addy as Darby's contemptuous father (who considers her 'tainted' by the experience and actually doesn't want her back!).

The finale, then, with the majority of the gang decimated at their hide-out - followed by Wilson's come-uppance outside a barn (after having spent the night with Darby for the last time) is appropriately vivid. By the way, the novel on which this is based had been filmed in Britain in 1948 under its original title, "No Orchids For Miss Blandish", but that version is only remembered - if at all - for how bad it actually was!

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7 out of 9 people found the following comment useful :-
Far below expectations, but has its strengths., 6 febbraio 2001

Author: gridoon

A disappointing adaptation of a James Chase novel (which I have read, incidentally). It's a cheap, mostly badly cast production, with an incredibly choppy beginning, and full of poorly-drawn characters that don't make much of an impression on the viewer. The one important exception is the character of Slim Grissom; neurotic, explosively unpredictable and complicated, this guy functions like a human-size time-bomb. Scott Wilson's convincing, excellent performance in the role elevates this movie, which, however, still should have been much better. (**)

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4 out of 5 people found the following comment useful :-
Lurid, but not so great..., 27 agosto 2005

Author: pljewkes da Boston, MA

Robert Aldrich's lurid film has a lot going for it and a lot not going for it. On the plus side there is a dynamite performance by Kim Darby as a kidnap victim who may or may not be starting to enjoy her grim predicament. On the minus side, the gang of kidnappers, a Ma Barker-type and her motley brood, simply is not threatening ENOUGH to make you believe Darby is in a lot of danger. I couldn't help wondering why she didn't just up and leave. Another deficit is the TV-movie feel of the whole thing -- this is definitely NOT Aldrich's most stylish film. Irene Dailey is fine as the mother, but it would have been more fun had the role been played by Cloris Leachman or Shelley Winters. Featuring Scott Wilson, Tony Musante, Robert Lansing and, in a brief but foul-mouthed cameo, Connie Stevens!

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4 out of 5 people found the following comment useful :-
cynical, complex, entertaining...., 17 giugno 2003
Author: (howlermonkey) da United States

a better Patty Hearst movie than the ones actually made about Patty Hearst. not quite up there with the likes of Bonnie and Clyde and Thieves Like Us, but definitely worth seeing as an example of the 1970's ambivalence about anti-social characters and crime. the reviews make quite a big deal about the violence but you will hardly notice it--a great deal of shooting, some of that orange glop they used in the 1970s, but hardly emotionally wrenching like, say, The Wild Bunch or Texas Chainsaw Massacre...great performance by Scott Wilson who shows up on TV a lot these days.

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2 out of 2 people found the following comment useful :-
A fitful, unpleasant, and uneasy piece of sweat-spotted goods..., 27 febbraio 2008

Author: moonspinner55 da redlands, ca

Robert Aldrich's brutal, quasi-black comedy "The Grissom Gang", a reworking of the 1948 British film "No Orchids For Miss Blandish", has 1920s heiress Kim Darby kidnapped by a pack of clumsy thieves; soon, that gang is dispatched and poor Kim is then transferred into the clutches of another crooked bunch--third-rate gangster brothers with sweaty, pasty faces and a mother who looks like Buddy Ebsen in drag. At first, Darby (not very plucky, and not very smart) attempts to escape this drooling brood, but they're onto her. Eventually she just gives up trying, and therein lies the trouble with the story. Are we in the audience supposed to sympathize with her? Is her growing concern for the family half-wit supposed to be heartwarming? These are disgusting, cretinous characters, and I wanted to see as little of them as possible. But since the side-stories (the progress of the cops on the case and another one involving floozy-singer Connie Stevens) are rather dull, the director has no choice but to keep foisting those sweaty faces on us. Pretty soon, nervous Darby starts sweating too, although her scene up in the hayloft is sensitively performed and Aldrich's climactic moments are thought-provoking, if disorganized. ** from ****

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2 out of 2 people found the following comment useful :-
From here, it's one step to Miller's Crossing, and for me that's not a good thing..., 7 giugno 2007

Author: Cannes2000 da United States

Robert Aldrich, a director I admire tremendously, was on a hot streak until The Grissom Gang. All through this movie you can feel the invisible presence of Robert Altman about to creep up on Aldrich and steal his throne.

Aldrich's strength is his ability to create self-contained worlds with each film he makes. Their pace is slow and immersive. But the danger is always one of hysterical mannerism and in The Grissom Gang there is nothing left but that. You see, Aldrich doesn't make westerns, he makes an Aldrich Western; he doesn't make gothics, but an Aldrich Gothic; and here he sets his sights on the gangster thriller in the vein of Bloody Mama.

You know right off the bat it's more realistic than any Roaring 20's film that came before because everyone is sweaty. REALLY sweaty. Marlon Brando in full Stanley Kowalski regalia would say, "Dang, man, get a towel" if he saw some of these actors. Oh, and did I mention that the characters have bad teeth, and that Bloody Mama even sports a mustache and ropy muscles? You know, the people in this film are so ugly, and so sweaty, that I am certain that Aldrich has brought absolute realism to the screen, and that no one after him should even attempt to make a movie set in this time period. The more ugly it is, the more real it must be, right? I think I'll throw my collection of 1920-1935 movies away, because they didn't have the courage to show the unvarnished truth!

The point of my sarcasm, in case it's not obvious, is that Aldrich's innovations here are focused on externals, like a Method actor who thinks imitating epilepsy captures the kernel of human pain. Altman in Thieves Like Us or McCabe and Mrs. Miller captures a kind of melancholy delirium in past ages that seemed transitional from his standpoint, but Aldrich has nothing to fall back on but foolish exaggeration. It's supposed to capture the 20's as they might have seemed to a child at that time, larger than life. But you can see the germ of that awful trend that will culminate in Sam Raimi or the Coen Bros., that heartless, childish comic-book emphasis that is divorced from human experience, imaginative empathy for people who are no different than us except trapped in a separate time and place, or anything really but grand guignol posing as "the way it really was."

The word I'm looking for, I think, is "synthetic." This film is absolutely impersonal and drab, to the point where it knocks Aldrich's reputation down several notches. He's one of those directors who can only live through movies, the result of which is that his movies feel nothing like life.

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