Charles Bronson’s elite hitman must contend with a younger student turned rival, Jan Michael Vincent, in Michael Winner’s fantastic action thriller The Mechanic. New to 4K UHD from Kino Lorber.
The Film
Not every Michael Winner film put it all together. The Mechanic certainly did. Less a Charles Bronson action programmer than a methodical look at process and relationships between men of violence. At the center is the perfectly cast Charles Bronson as the clinically exacting mentor to the hotshot apprentice Jan Michael Vincent. Rarely, if ever, has a Winner film been this composed and coolly detached. The result is a film more akin to Le Samourai than Winner’s own Death Wish 2.
Arthur Bishop (Bronson) leads a lonely existence. His relationships are all transactional. There is no trust in his world. There is only his job. The job is a Mechanic. Not the kind that fixes cars, but an Assassin. The nature of his job is such that the people he kills are to be made to look like natural causes or accidents. For whatever reason, Bishop is drawn to young and unpredictable Steve McKenna (Vincent). Bishop begins to teach McKenna how to operate in his world. As they successfully navigate jobs, it becomes clear to Bishop that he may be McKenna’s next target, as there can only be one top Mechanic.
Part of what makes The Mechanic so good is its eschewing of action in favor of process. From the opening moments and the bravado wordless fifteen-minute opening, this is a different Winner (even from The Night Comers). This feels much like Jean-Pierre Melville or Michael Mann in the way that the methodical hows and whys of the job are as much the dramaturgy as the execution of the targets. Though it is not all psychology, it wouldn’t be a Winner film if the director’s affinity for action and cruelty weren’t present. In The Mechanic, the director’s proclivities are modulated and aimed at more focused points in the story. There is no sexual assault, thankfully, but the misogyny is present, and it is a very apt focal point for a character and understanding them. The script by Lewis John Carlino works in favor of its director’s strengths and thankfully does veer into Winner’s grosser impulses.
The Mechanic may also be one of Bronson’s best vehicles (along with Walter Hill’s perfect Hard Times) because it’s tailored to the stoic or laconic (some would say stone-faced) star’s acting style. Bishop is a man of few words and fewer emotions, detached from everything in life, even the relationship he has with a sex worker (played by his real-life wife Jill Ireland). That relationship is a false front, with her acting a part about how detached Bishop is. Bronson plays it the way one would expect, especially if one knows even the slightest about Bronson. The result is something compelling, far beyond his Cannon action films or even his work in films like The Dirty Dozen.
The secret sauce may be Jan Michael Vincent as McKenna. Vincent, at this point, was still a teenage heartthrob, and one can feel him soaking up the chance to play a pure sociopath. Though not over-the-top, Vincent matches Bronson’s subtle performance with one that’s definitely subdued but very different and more malevolent. Watch the way the two circle around one another during the party scene and the scene following with McKeena’s lady friend. It’s both disturbing and thrilling watching these two sharks sus each other out to see if they can either work or feed off one another.
Though the film is a psychological thriller, Winner and company never forget that it is an action film first and foremost. This is where the film excels with multiple thriller action scenes, including a truly great motorcycle chase that rivals anything in the era. There are few action films of the era that are as meticulous as The Mechanic and even fewer that are as good.
The Transfer
The all-new HDR/Dolby Vision Master – From a 4K Scan of the 35mm Original Camera Negative is an excellent upgrade to the picture. The image is flawless without a single spec of dirt or scratch present throughout the runtime, showing off the 35mm shot film by Richard Klien, which shows off the grit and grime of Los Angeles of the 1970s. The Dolby Vision encoding gives all the blacks and contrast levels deeper details. Bravo to Kino Lorber for taking the time and care in delivering another wonderful 4K UHD upgrade.
The Extras
They include the following;
DISC 1 (4KUHD):
NEW Audio Commentary by Film Historians Steve Mitchell and Troy Howarth
Audio Commentary by Film Historian Paul Talbot, the Author of the Bronson’s Loose! Books
Audio Commentary by Cinematographer Richard H. Kline, Moderated by Film Historian Nick Redman
DISC 2 (BLU-RAY):
NEW Audio Commentary by Film Historians Steve Mitchell and Troy Howarth
Audio Commentary by Film Historian Paul Talbot, the Author of the Bronson’s Loose! Books
Audio Commentary by Cinematographer Richard H. Kline, Moderated by Film Historian Nick Redman
Interview with Screenwriter Lewis John Carlino
Theatrical Trailer
The first of three Audio Commentaries is an all-new track by Film Historians Steve Mitchell and Troy Howarth. The duo opens with introductions and admitting that this is one of their personal favorite Charles Bronson. Some of the details discuss the original poster art for the film that attracted them to see the film upon its original release; a discussion of the wordless 16-minute opening, and how this sets the tone of for the film as a slightly different Bronson film; a discussion of the early part of Bronson’s career that he was more of an international star rather than US one, and was for the most part with some exception (Death Wish being one of them) stayed that way through his career; the misleading title of the film; a discussion of the opening and how Winner approached it from his own word (via an interview quote); the various director and actors who were attached before Winner and Bronson; the production schedule and budget; the work and career of Keenan Wynn; a larger discussion of Bronson as the star and the man and anecdotes that illustrates that; the work and career of Jill Ireland; how the character and its closed off nature feels very autobiographical to the nature of Bronson and his reputation as a very business first closed off person; Winner’s effective use of Los Angeles and its various locations; the work of Richard Klien and his collaboration with Winner; a larger discussion of the life and directorial career of Michael Winner – and his notoriously difficult, abusive nature; a larger discussion of the various locations the production used around Los Angeles; a larger discussion of the various actors that appear in the film; and much more.
The second Audio Commentary is an archival track by Film Historian Paul Talbot, the Author of the Bronson’s Loose! Books. Talbot opens with his credentials, and before diving into Bronson had just turned 50 years old when the film began production. Some of the details include the development history of the screenplay by Lewis John Carlino; a discussion of Bronson’s career and personal history up until this point when The Mechanic was made; a discussion of the contribution of composer Jerry Fielding; a discussion of Winner’s career and personal history up until he was hired to direct The Mechanic; the casting what if’s before Jan Michael Vincent was cast in the role McKenna; a discussion of actor/co-star Jill Ireland’s career and personal history; a larger discussion of the directorial style and work of Michael Winner; a larger discussion throughout about anecdotes from the production; a discussion of the various cars and motorcycles used in the film; a discussion of the locations and studio sets that the production used; a discussion of the various actors that appear in the film; and much more.
The final Audio Commentary is another archival track, this one by Cinematographer Richard H. Kline, moderated by Film Historian Nick Redman. The duo begins with introductions before diving into a discussion of the 16-minute wordless opening and anecdotes from the production, preparation, and challenges. Some of the other details include getting hired for this film by Michael Winner, working with him over several films, and eventually becoming good friends up until his passing; a discussion of Winner’s reputation for a notoriously vicious man on set; a discussion of his own personal history and how he got started in film, eventually becoming a cinematographer; how things worked on set with regards to the camera and setups per day and how things were approached on a Michael Winner set; how he approached the changing in styles and budget from film to film; working with and his personal relationship to Charles Bronson; a discussion of Winner’s second career as a food critic; a discussion of how he learned how to light and the advice he would give about lighting; and much more.
Interview with Screenwriter Lewis John Carlino (13:51) – the archival interview with the screenwriter opens with his research for other films about the mafia and how that led him to meeting supposed assassins, which eventually started the concept for The Mechanic. Carlino goes on to discuss the hiring of Bronson and the rewrites and adjustments made to the character and film; the rewriting process for him, and also working with director Michael Winner; how the style and tone of the piece changes to a more action driven piece with hints of psychology not the other way around much of it because of Winner and Bronson’s involvement; the very different relationship between Bishop (Bronson) and McKenna (Jan Michael Vincent); being on set for the Motorcycle stunt/chase; and much more.
Rounding out the special features are trailers for The Mechanic (2:31); Violent City (3:54); Cold Sweat (2:36); Mr. Majestyk (1:33); Death Wish (2:20); Breakout (1:34);
The Final Thought
The Mechanic is one of Bronson’s best films. Kino has put together an amazing 4K UHD Upgraded Disc. Highest Possible Recommendations!!
Charles Bronson’s elite hitman must contend with a younger student turned rival, Jan Michael Vincent, in Michael Winner’s fantastic action thriller The Mechanic. New to 4K UHD from Kino Lorber.
The Film
Not every Michael Winner film put it all together. The Mechanic certainly did. Less a Charles Bronson action programmer than a methodical look at process and relationships between men of violence. At the center is the perfectly cast Charles Bronson as the clinically exacting mentor to the hotshot apprentice Jan Michael Vincent. Rarely, if ever, has a Winner film been this composed and coolly detached. The result is a film more akin to Le Samourai than Winner’s own Death Wish 2.
Arthur Bishop (Bronson) leads a lonely existence. His relationships are all transactional. There is no trust in his world. There is only his job. The job is a Mechanic. Not the kind that fixes cars, but an Assassin. The nature of his job is such that the people he kills are to be made to look like natural causes or accidents. For whatever reason, Bishop is drawn to young and unpredictable Steve McKenna (Vincent). Bishop begins to teach McKenna how to operate in his world. As they successfully navigate jobs, it becomes clear to Bishop that he may be McKenna’s next target, as there can only be one top Mechanic.
Part of what makes The Mechanic so good is its eschewing of action in favor of process. From the opening moments and the bravado wordless fifteen-minute opening, this is a different Winner (even from The Night Comers). This feels much like Jean-Pierre Melville or Michael Mann in the way that the methodical hows and whys of the job are as much the dramaturgy as the execution of the targets. Though it is not all psychology, it wouldn’t be a Winner film if the director’s affinity for action and cruelty weren’t present. In The Mechanic, the director’s proclivities are modulated and aimed at more focused points in the story. There is no sexual assault, thankfully, but the misogyny is present, and it is a very apt focal point for a character and understanding them. The script by Lewis John Carlino works in favor of its director’s strengths and thankfully does veer into Winner’s grosser impulses.
The Mechanic may also be one of Bronson’s best vehicles (along with Walter Hill’s perfect Hard Times) because it’s tailored to the stoic or laconic (some would say stone-faced) star’s acting style. Bishop is a man of few words and fewer emotions, detached from everything in life, even the relationship he has with a sex worker (played by his real-life wife Jill Ireland). That relationship is a false front, with her acting a part about how detached Bishop is. Bronson plays it the way one would expect, especially if one knows even the slightest about Bronson. The result is something compelling, far beyond his Cannon action films or even his work in films like The Dirty Dozen.
The secret sauce may be Jan Michael Vincent as McKenna. Vincent, at this point, was still a teenage heartthrob, and one can feel him soaking up the chance to play a pure sociopath. Though not over-the-top, Vincent matches Bronson’s subtle performance with one that’s definitely subdued but very different and more malevolent. Watch the way the two circle around one another during the party scene and the scene following with McKeena’s lady friend. It’s both disturbing and thrilling watching these two sharks sus each other out to see if they can either work or feed off one another.
Though the film is a psychological thriller, Winner and company never forget that it is an action film first and foremost. This is where the film excels with multiple thriller action scenes, including a truly great motorcycle chase that rivals anything in the era. There are few action films of the era that are as meticulous as The Mechanic and even fewer that are as good.
The Transfer
The all-new HDR/Dolby Vision Master – From a 4K Scan of the 35mm Original Camera Negative is an excellent upgrade to the picture. The image is flawless without a single spec of dirt or scratch present throughout the runtime, showing off the 35mm shot film by Richard Klien, which shows off the grit and grime of Los Angeles of the 1970s. The Dolby Vision encoding gives all the blacks and contrast levels deeper details. Bravo to Kino Lorber for taking the time and care in delivering another wonderful 4K UHD upgrade.
The Extras
They include the following;
DISC 1 (4KUHD):
DISC 2 (BLU-RAY):
The first of three Audio Commentaries is an all-new track by Film Historians Steve Mitchell and Troy Howarth. The duo opens with introductions and admitting that this is one of their personal favorite Charles Bronson. Some of the details discuss the original poster art for the film that attracted them to see the film upon its original release; a discussion of the wordless 16-minute opening, and how this sets the tone of for the film as a slightly different Bronson film; a discussion of the early part of Bronson’s career that he was more of an international star rather than US one, and was for the most part with some exception (Death Wish being one of them) stayed that way through his career; the misleading title of the film; a discussion of the opening and how Winner approached it from his own word (via an interview quote); the various director and actors who were attached before Winner and Bronson; the production schedule and budget; the work and career of Keenan Wynn; a larger discussion of Bronson as the star and the man and anecdotes that illustrates that; the work and career of Jill Ireland; how the character and its closed off nature feels very autobiographical to the nature of Bronson and his reputation as a very business first closed off person; Winner’s effective use of Los Angeles and its various locations; the work of Richard Klien and his collaboration with Winner; a larger discussion of the life and directorial career of Michael Winner – and his notoriously difficult, abusive nature; a larger discussion of the various locations the production used around Los Angeles; a larger discussion of the various actors that appear in the film; and much more.
The second Audio Commentary is an archival track by Film Historian Paul Talbot, the Author of the Bronson’s Loose! Books. Talbot opens with his credentials, and before diving into Bronson had just turned 50 years old when the film began production. Some of the details include the development history of the screenplay by Lewis John Carlino; a discussion of Bronson’s career and personal history up until this point when The Mechanic was made; a discussion of the contribution of composer Jerry Fielding; a discussion of Winner’s career and personal history up until he was hired to direct The Mechanic; the casting what if’s before Jan Michael Vincent was cast in the role McKenna; a discussion of actor/co-star Jill Ireland’s career and personal history; a larger discussion of the directorial style and work of Michael Winner; a larger discussion throughout about anecdotes from the production; a discussion of the various cars and motorcycles used in the film; a discussion of the locations and studio sets that the production used; a discussion of the various actors that appear in the film; and much more.
The final Audio Commentary is another archival track, this one by Cinematographer Richard H. Kline, moderated by Film Historian Nick Redman. The duo begins with introductions before diving into a discussion of the 16-minute wordless opening and anecdotes from the production, preparation, and challenges. Some of the other details include getting hired for this film by Michael Winner, working with him over several films, and eventually becoming good friends up until his passing; a discussion of Winner’s reputation for a notoriously vicious man on set; a discussion of his own personal history and how he got started in film, eventually becoming a cinematographer; how things worked on set with regards to the camera and setups per day and how things were approached on a Michael Winner set; how he approached the changing in styles and budget from film to film; working with and his personal relationship to Charles Bronson; a discussion of Winner’s second career as a food critic; a discussion of how he learned how to light and the advice he would give about lighting; and much more.
Interview with Screenwriter Lewis John Carlino (13:51) – the archival interview with the screenwriter opens with his research for other films about the mafia and how that led him to meeting supposed assassins, which eventually started the concept for The Mechanic. Carlino goes on to discuss the hiring of Bronson and the rewrites and adjustments made to the character and film; the rewriting process for him, and also working with director Michael Winner; how the style and tone of the piece changes to a more action driven piece with hints of psychology not the other way around much of it because of Winner and Bronson’s involvement; the very different relationship between Bishop (Bronson) and McKenna (Jan Michael Vincent); being on set for the Motorcycle stunt/chase; and much more.
Rounding out the special features are trailers for The Mechanic (2:31); Violent City (3:54); Cold Sweat (2:36); Mr. Majestyk (1:33); Death Wish (2:20); Breakout (1:34);
The Final Thought
The Mechanic is one of Bronson’s best films. Kino has put together an amazing 4K UHD Upgraded Disc. Highest Possible Recommendations!!
Kino Lorber’s 4K UHD Edition of The Mechanic is out now.
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