7.1 | / 10 |
Users | 4.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
Abner Procane, top L.A. burglar, finds that somebody stole his plans for next ambitious heist. He hires Raymond St. Ives, crime books writer, to negotiate the return of those documents.
Starring: Charles Bronson, John Houseman, Jacqueline Bisset, Maximilian Schell, Harry GuardinoThriller | Insignificant |
Crime | Insignificant |
Drama | Insignificant |
Action | Insignificant |
Mystery | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (C untested)
Movie | 4.0 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 2.5 | |
Overall | 4.0 |
The 1970s were good to Charles Bronson. Working his way into leading man parts, Bronson ran with the opportunity, taking as many employment opportunities as possible while developing a loyal fan base responsive to his steely screen presence. He made 21 movies during the decade, mostly sticking with genre entertainment that made the most of his reserved acting style, often finding himself in heroic roles as a man of action dealing with the evils of the world. 1976’s “St. Ives” is a slight change of pace for the star, with this adaptation of a 1972 Oliver Bleeck novel putting Bronson in detective mode, portraying a middle man caught between the police and criminals when special information is stolen from a wealthy man. Bronson does Bronson in “St. Ives,” but he’s great fun to watch as a cautious man stuck in a strange situation. The feature doesn’t quite understand that less is more, but director J. Lee Thompson (who would go on to make eight more films with Bronson) keeps things exciting for an hour and change, adding elements of danger and red herrings as the eponymous character tries to make sense of everything that’s coming for him.
The AVC encoded image (1.85:1 aspect ratio) presentation is listed as a "New 2023 2K scan from the interpositive." Detail is acceptable throughout "St. Ives," which offers a decent view of skin particulars on the cast, with Jacqueline Bisset's glamour lighting quite obvious at times. There's softness with these cinematographic choices, but visual intent seems intact. Interiors around living spaces and commuter areas carry depth, leaving decorative additions open for inspection. Tours around Los Angeles are dimensional, examining city living and ritzy neighborhoods. Colors are defined, working with period hues, including lots of browns and grays. Greenery is distinct. Skin tones are natural. Delineation is satisfactory. Grain is capably resolved. Source is in good condition.
The 2.0 DTS-HD MA preserves dialogue exchanges, securing different performance choices, including Bronson's tight-jawed line delivery. Scoring supports with clear instrumentation, ranging from mild orchestral movements to funkier stretches with pronounced bass. Sound effects are basic but appreciable, along with city atmospherics.
"St. Ives" remains lively as the writer finds himself at the right place at the wrong time on numerous occasions, and flirtations with Janet grow, complicating the situation. Thompson generates a rhythm to the endeavor that keeps it moving along, managing trouble for St. Ives as he attempts to clear his name and learn more about Boykins. Bronson is strong here, borderline playful at times, and there's tremendous entertainment value in watching St. Ives deal with those who underestimate his seasoning and intellect. "St. Ives" doesn't sustain its momentum to the very end, with the final act (which ends up at a drive-in theater) growing too knotted with names and reveals, turning the effort into a traditional mystery when the picture is more about personality, following St. Ives into danger. The ending doesn't kill the film, but it certainly comes close, with Thompson failing to recognize that the real appeal here is Bronson and his charged interactions with others, not an overall scheme of blackmail and burglary. He's the star for a reason, giving an understated, squinty performance that elevates the offering whenever he's the sole focus.
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