Winter Kills (1979)
Directed by: William Richert.
Written by: William Richert based on the novel by Richard Condon.
Starring: Jeff Bridges (Nick Kegan), John Huston (Pa Kegan), Anthony Perkins (John Cerruti), Eli Wallach (Joe Diamond), Sterling Hayden (Z.K. Dawson), Dorothy Malone (Emma Kegan), Tomas Milian (Frank Mayo), Belinda Bauer (Yvette Malone), Ralph Meeker (Gameboy Baker), Toshirô Mifune (Keith), Richard Boone (Keifitz), David Spielberg (Miles Garner), Brad Dexter (Captain Heller One), Michael Thoma (Ray Doty), Ed Madsen (Captain Heller Two), Irving Selbst (Irving Mentor), Chris Soldo (Jeffreys), Byron Morrow (Secretary of State), Elizabeth Taylor (Lola Comante), John Warner (President Tim Kegan).
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The film stars Jeff Bridges as Nick Kegan, the beach bum half-brother of the former American President, killed by an apparent lone gunman nearly 20 years ago. An ex-con confesses to Nick, while on his deathbed, that he was he second gunman that day – and he was hired by an organization he did not know. Nick goes to his powerful father, (John Huston) with the information, who doesn’t want to hear it – but Nick will not give up. He starts a country spanning investigation, meeting people in all walks of life related to his brother, and a possible conspiracy – but as he unravels the plot, the people he meets with keep getting murdered by unknown killers.
You could hardly ask for a better cast for a film – Bridges, Huston, Anthony Perkins as an all-powerful Wizard of Oz type character, Eli Wallach as a gangster, Sterling Hayden as a powerful businessman, only seen riding around in a tank, Dorothy Malone as Bridges semi-out there mother, and Elizabeth Taylor, who never speaks, but wanders around looking Elizabeth Taylor. That doesn’t even mention small roles by Ralph Meekler, Toshiro Mifune and Tomas Milian – the film becomes a spot the star cameo game throughout, as these stars come out, have a scene or two, and then disappear. They keep the film watchable, and somewhat enjoyable.
But the film never quite finds the right tone – this film was required to walk the razor edge between plausible thriller and satiric comedy, and doesn’t really commit to either. It’s at its best in the most absurd scenes – like Huston’s introduction, accompanied by a large of rich men, who come riding in on golf carts, as if they are an invading army. The film also work in the background more than the foreground – like the presence of a ping pong table at the last place you would expect to see one, which undercuts the seriousness of the scene it’s in.
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