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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