HARD CONTRACT

US, 1969, 106 minutes, Colour.
James Coburn, Lilli Palmer, Lee Remick, Burgess Meredith, Patrick Magee, Sterling Hayden, Helen Cherry, Karen
Black, Claude Dauphin.
Directed by S. Lee Pogostin.

Hard Contract is an unusual thriller. The hero is a professional murderer, suave and cool about his work. His hard contract is to go to Europe (where he is not at home) and kill three men. The seemingly callous man is out of his depth In Europe. He also meets a challenging woman who draws on his emotions, which he had suppressed.

This is in some ways conventional material but given a hard gloss In Its wealthy setting. The message also emerges at the end, especially since one of the victims is a former hit man himself who reflects on the meaning of life and death with the hero. The material was written by the director who had written the 'Flint' series of action parody comedies for James Coburn. Coburn is his usual sixties image in this film. He is supported by a wide range of interesting supporting stars from Lee Remick and Lilli Palmer to British Patrick Magee and American Sterling Hayden. Hard Contract is not a particularly entertaining film. However it reflects something of the unscrupulous amorality of the twentieth century*

1. An interesting thriller? A reflective film about society, murder, good and evil?

2. Panavision photography: American locations, the atmosphere of Spain, Belgium? The range of characters -in such settings? The musical score?

3. The focus of the title? The introduction to the world of the professional killer? The standards of such a killer? The difficulty of the contract? The abstractness of murder? The understanding of the assassin's presuppositions? The personal encounter making it a harder contract? Encounter with Sheila and with the victim?

4. The work of the writer-director? His interest in character, his delineation of character, beautiful people within beautiful settings? The importance of his dialogue? The abstract nature of so many of the discussions - contributing to the meaning of the film, to its drama? A satisfying exploration of themes?

5. The introduction to John Cunningham, James Coburn's presence and style? His drinking at the bar, his killing the man in the theatre, his encounter with the prostitute - and his inability to relate personally let alone intimately? The discussions with Ramsay and his qualifications as an assassin? His undertaking the hard contract? His interest in the visit to Europe? His attraction towards Spain, Europe as different from America, his beginning not to cope? The chance encounter with Sheila and taking her for the prostitute, the lack of intimacy in his relationship with her - but a beginning of a doubt? The encounter with Adrianne and the explanation of Sheila? The encounters with Sheila, the growing friendship, sharing, failing in love? Flying the plane and the fulfilment of the first part of the contract - the simple camera focus on murderer and victim and the reticence about the actual death? His breaking off with Sheila and going to Brussels? The riots and his killing his second victim? The phone call to Ramsay and his uncertainty? The return to Madrid after the hesitating phone call to Sheila? Meeting his victim? Being caught up in the family atmosphere? Ramsay's arrival and the pressure? Discussions about murder, contracts, who would be victim so that he could be free? The discussion with Carlson, on Carlson's memories of his own experiences, giving up, setting up the victim, truth or lies? The effect on Cunningham? Sheila's realisation of the truth? Alexei's suspicions? Adrianne's being repulsed by the theories of murder? The going to the gypsy wedding, the exhilaration of driving so fast down the road, having power of life and death over the whole group in his hand, his decision to let them live, to let himself live? His going out with Sheila - the final circle, a future, or in the sights of an assassin's gun? The audience understanding Cunningham as a hired killer? His motivations, skills, exercise of his trade? The importance of his impersonality, the first prostitute and her talking to him, the failure with the second, the transformation with Sheila?

6. Sheila as a divorcee, one of the beautiful people in Spain, her initial behaviour in the hotel, shouting, taunting of Alexei and his forgiving her? Her ex-husbands? Adrianne's friendship, though affair with one of them? Her fascination with Cunningham? Pretending to be the prostitute? The effect of the experience on her? Discovering his impersonal attitudes towards people? Yet going out with him, growing delight, Adrianne's telling the truth? His disappearance and her reaction, Alexei tracking him down, her decision to marry Alexei - yet her continual taunting him about Nazism, about speaking German? John's phone call and his unwillingness to speak, her desperation? Exhilaration on his return, sharing the outings, the intimacy? Her realisation that he was a killer? The discussions about murder? The dangerous ride and her reaction? The final reconciliation?

7. Adrianne as one of the beautiful people, her English background, life on the continent, incessant chatter, her delight, trying to unite people, making mischief? Devotion to Sheila? Curiosity about John? Her hold over Alexei and the rest of the entourage? Meeting Evelyn and Carlson? Age, society, enjoyment? Her fascination with Ramsay? Her revulsion at the theories of murder?

8. Alexei and his eccentricity, devotion to Sheila, Nazi guilt, his being taunted, his willing forgiveness, his searching out Cunningham's whereabouts in Brussels? The other members of the entourage and their lifestyle?

9. Carlson as victim - his background as a hired killer, his relationship with his wife, grandchildren, 15 years on the farm? His poise? His realisation of Cunningham's mission after the discussion in the restaurant? His discussion, putting forward the arguments about giving up the trade - yet the uncertainty whether he would never kill for family or any reason (or as leading Cunningham on)? His behaviour during the speeding journey?

10. The victims - anonymous people who were to be murdered?

11. Cunningham's encounter with the prostitutes - the first prostitute and her attempt to personalise Cunningham? The encounter in Brussels and its failure?

12. Ramsay and his cover, malevolence, setting up contracts, his cynicism, wariness about Cunningham, coming to Spain, the cover, the devilish temptation and the possibility of licence to kill them all, Adrianne calling his bluff?

13. A philosophical film combining images and talk: how effectively?