• Point Blank is magnificent– pulpy revenge subject matter meets high art direction like Breathless, Shoot the Piano Player, Bob le Flambeur– clearly influenced by the French new wave here (in terms of high art meets crime genre)—which was of course influenced by American film noir—the spectacular use of architecture though actually is closer to Resnais and Antonioni than Godard, Melville and Truffaut
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  • David Thomson writes about Lee Marvin’s character being a ghost—I don’t see it—but there are a few scenes that support that—there’s the constant reference it to being a dream Lee Marvin is having. He’s shot, then gets up and he honestly doesn’t seem to be injured. His wife doesn’t talk directly to him – she’s almost like talking to herself with him there in the scene like Sixth Sense or something—even later Angie Dickinson’s character says “you died at Alcatraz alright”
  • It can also be viewed as a major film in the American New Wave or movement from 1967-1979 (though Boorman is British) coming out in the important year of 1967 with Bonnie and Clyde and The Graduate
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  • Nick Schager Slant Magazine- “What makes Point Blank so extraordinary is Boorman’s virtuoso use of such unconventional avant-garde stylistics to saturate the proceedings with a classical noir mood of existential torpor and romanticized fatalism.” 
  • Background architecture as character— silent storytelling, non-linear narrative construction, the use of open space
  • Los Angeles very much a character in the film—Boorman insisted on location scouting himself
  • The entire heist is done in the opening cross-cut flashback—it’s a bit disorienting until you get on its wavelength
  • Walking the hallways of LAX—the use of color and lighting- -gob-smackingly beautiful. It influences Jackie Brown and Tarantino shot there as well. The scene is great not just because of the visuals but the audio— Boorman users the sound of Marvin walking and overlaps it non-diegetically onto the intercut scene and the following scene
the greatest image/sequence in a film absolutely loaded with them
  • Great shot of the beauty parlor hall of mirrors—
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  • A stunner of Marvin in the car—its honestly amazing that Boorman can get wall-art from a guy sitting in a car
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  • Influences everything today from Refn to Atomic Blonde – here Marvin beats the hell out of a guy in front of a neon light with the lights moving on Marvin’s face
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  • The high-rise exteriors and interiors—fabulous – using structure to block the frame–
  • Angie Dickinson is in yellows—her sofa, cabinets, robes—drenched in it  
  • Yellow and red pillars in the parking structure
the L.A. Rain basin set piece viaduct sequence- I mean that’s used in Grease, Terminator 2, Drive
  • canted angles, very expressionist and flashback heavy—I see an influence here on You Were Never Really Here and Lynn Ramsay in general
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avant-garde in it’s structural angles
  • A Masterpiece