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MovieMail's Review
A Tribute to The Hard Way and to Patrick McGoohan.
Since happening upon this film a few years ago – when I managed to win it at auction for just a few pounds - I have become so obsessed with it that I have made pilgrimages all over Ireland in order to pay homage to it, and to its leading actor, Patrick McGoohan. He is, sadly, no longer with us, along with many of the other fine actors who make up the supporting cast (Lee Van Cleef; Donal McCann; Peter Brayham; Joe Lynch). The re-release of the film on DVD, almost 30 years to the day of its original screening, is long overdue – but better late than never! It may have taken a very long time but the best things in life are always worth waiting for.
In writing this review, I have struggled long and hard to articulate my feelings into words. I hope that I do justice both to the film and to Patrick McGoohan. I believe that this appearance is arguably his finest, most understated and underrated acting role ever.
The plot ambles along; it is heavy and slow; there is hardly any dialogue, and very little action. Anyone looking for a fast moving ‘gangster’ movie peppered with gunfire (as the trailer included in the DVD’s special features seems to suggest) will certainly be disappointed.
The use of speech is so sparse it is almost conspicuous by its absence. Most of the scenes are eerily quiet. However, this only serves to build up the tension. The use of body language to convey mood and meaning is very subtly done; especially in the bar room ‘stand off’ between the two main protagonists. The way in which John Connor (Patrick McGoohan) gently menaces his ‘handler’ McNeal (Lee Van Cleef), and resists the latter’s attempts at persuasion with a quiet, stubborn resolve, is just breathtaking to watch. I can only applaud when the former leaves with quiet dignity, then slams the bar room door behind him to signify, and release, his clearly pent-up anger. That beats any ‘shoot out’ I’ve ever seen!
In my opinion, Patrick McGoohan’s portrayal of the Irish mercenary who wants to retire is extremely sympathetic. He shows a man who is not just a cold-blooded killer. John Connor is very human, and has many redeeming qualities, including that of moral courage – borne out in the parting words of Kathleen (Edna O’Brien), John Connor’s estranged wife, in the final scene – “A waste of a man.” I have to admit that, in spite of his past deeds, I have to weep for the man – I can’t help it. Such is the power of the actor’s presence and the skill with which he takes on the mantle of this complex character.
In this respect, great credit must also be given to the skillful direction of Michael Dryhurst. Having heard that the actor and the director were very like-minded, I can well believe it when I watch the results.
In addition, the stunning cinematography of Henri Decae enhances the production. Sweeping panoramic shots of the Irish countryside and the mountains contrast sharply with the claustrophobic and depressing settings of seedy hotels and dark, dingy city streets. The way the scenes are lit is also very creative and effective.
The accompanying soundtrack consists of just three pieces, all of them instrumental, and each is cleverly employed to illustrate the mood of their respective scenes. ‘The Dear Irish Boy’, an Irish air beautifully rendered by the solo violinist Tommy Potts, and ‘Events in Dense Fog,’ (from Brian Eno’s ‘Music for Films’) which accompany John Connor’s sad, reflective moments, and the forlorn speeches from his estranged wife, tug at the heartstrings and bring tears to the eyes. ‘Patrolling Wire Borders,’ also from Music for Films (not ‘A Measured Room’, as is stated on the film credits), is spine-tingling, stark and sinister and is well suited to the more grimly cynical scenes of violence and turmoil in the twilight world of the jaded hit man.
Very little is explained to us. There is so much we don’t know; for instance, how did a man like John Connor become a mercenary? Why are his children in apparent exile in the States? And why did Kathleen, his estranged wife, then remain behind in Ireland?
But somehow, this isn’t all that important to know; in fact, it can only add to the appeal of the film. Not being spoon fed such details somehow piques the appetite – and that’s partly why I chose not to reveal too much about the plot in this review.
To cut a long story short; less is definitely more in this case. Please take the time to watch this film; be patient; and make sure you read between the lines.
Patrick McGoohan stars as a soon-to-retire hitman agreeing to take on one last job. After years plying his deadly trade, John Connor (McGoohan) has finally had enough. Seeking to retire to Dublin and maybe salvage his dying marriage, Connor wants to leave the lonely world of the marksman behind him and melt into the background. Unfortunately, his handler O'Neal (Lee Van Cleef) is reluctant to let him go, and, after much coercion, manages to talk him into accepting one final job.
Given that it is one of the most stripped-down, nihilistic crime dramas ever filmed (the executive producer is John Boorman) - and that it stars a particularly charism... more >
Given that it is one of the most stripped-down, nihilistic crime dramas ever filmed (the executive producer is John Boorman) - and that it stars a particularly charismatic and challenging actor, Patrick McGoohan, it's something of a surprise that The Hard Way functions only fitfully. But there is a John Buchan-like vision of dangerous landscape and moment of bleak effectiveness not least concerning the edgy interaction between two hard-bitten hit men, the Irish Conner (McGoohan) and his American contact, McNeal (played by aging genre stalwart Lee Van Cleef). The interaction between McGoohan and his estranged wife (played by the Irish novelist Edna Obrien) is non-existent; they have one wordless, cold scene together - as he packs her off to safety when she is in the line of fire - and it's hard not to discern McGoohan's well-known catholic aversion to any kind of emotional or sexual involvement with women in his work (a stance, rigorously maintained in his two cult TV series Danger Man and The Prisoner). But this hole at the centre of the narrative (admittedly justified by the withholding Conner's solitary personality) is further emphasised by the ill-judged direct-to-camera monologues O'Brien is obliged to deliver about her absent spouse - and the fact that, as an actress, O'Brien is an excellent novelist. Nevertheless, Dryhurst's paring down of narrative, dialogue and performance to a bare minimum pays divided, and the film has a cold, affectless sheen which commands attentions. < less
On paper, The Hard Way might sound a tad familiar. The ostensible hero (McGoohan) is a professional hitman (‘the best shot in Europe’) but he’s had enough of the assas... more >
On paper, The Hard Way might sound a tad familiar. The ostensible hero (McGoohan) is a professional hitman (‘the best shot in Europe’) but he’s had enough of the assassination game and retirement beckons. He is persuaded to tackle One Last Job which, naturally, goes awry; trouble ensues. But this Irish thriller is much more interesting and worthwhile than its formulaic outline might suggest. The first sign of its ambitions can be detected in the credits, where Henri Decaë is listed as cameraman. He photographed many of Jean-Pierre Melville’s best films and the pared down style and disciplined pacing of The Hard Way evoke Melville’s precision-tooled policiers. Unlike most low budget crime thrillers, it doesn’t skimp on atmosphere; there’s a brooding inevitability that sets it apart from the herd. McGoohan is perfect for this, of course. Always a very controlled actor, his characterisation is created through glimpses and glances. It’s a performance that shows exactly why this great actor is so lamented and another reason to investigate this fascinating rediscovery. < less
