My first experience with the films of director J. Lee Thompson and Charles Bronson came during the mid-90s when I watched a heavily-cut version of '10 to Midnight' on basic cable. Since then, I have viewed these several films in almost reverse order, eventually jumping back to 'St. Ives,' their first pairing in 1976.
'St. Ives,' while being the first Thompson/Bronson film, was also one of the last major studio productions involving these two men. Eventually, they were turning out cheap but effective potboilers for the Cannon Group, including '10 to Midnight' and 'Murphy's Law.' And this is probably why 'St. Ives' can produce unfair expectations; while on a fairly large budget, the film is just one of many high-crime thrillers that were released in its day and sells itself as little more than that.
Bronson stars as Raymond St. Ives, a former Los Angeles crime reporter who is lackadaisically trying to earn his way as a novelist. Having recently divorced his wife and taken up residence at a cheap hotel, St. Ives is under demand to pay $1,000 a month in alimony. Raymond has a thirst for high living and gambles non-stop, habits that have left him short of cash; to pay the bills, he takes advice from his lawyer Myron (Michael Lerner) to act as a go-between for millionaire Abner Procane (John Houseman) and his assistant Janet Whistler (Jacqueline Bisset), who need to exchange ransom money for stolen journals that contain unsavory business dealings. While trying to complete the transaction, St. Ives stumbles upon one dead body after another and requires the help of his police lieutenant friend Charlie Blunt (Dana Elcar) to bail him out each time. Intrigued as a former journalist and in need of 'writing material,' St. Ives stays employed to Procane while trying to account for the murders.
While the cast of 'St. Ives' acquits itself under Thompson's straightforward direction, the film suffers from an erratic plot line and a script by Barry Beckerman that loses energy as it progresses. The first half of 'St. Ives' is quite engaging, as it tracks Raymond's activities as a go-between and his investigations of Procane. But out of nowhere, St. Ives decides to become a member of Procane's illegal operations while hoping to uncover the truth. The whodunit theme becomes one of mini-espionage as a result, with Bronson looking far too passive. By the film's conclusion, Bronson seems almost a marginal character, no longer the main person of focus. Barry Beckerman's script (based upon a novel by Ross Thomas) also has a comic tone so predominant that it's nearly impossible for any true conflict to develop. The film gathers no momentum and becomes pedestrian.
A large part of why 'St. Ives' fails in its second half is the growing presence of Jacqueline Bisset, who was terribly miscast as Janet. Bisset's role as the henchwoman requires a character actress who mixes cold-heartedness with just enough good looks to attract Raymond. Whether it's because Bisset looks taller than everyone else, has a pleasant voice, or is just plain gorgeous, she has such a wonderfully feminine presence that you could never really buy into the idea of Janet killing people. To make matters worse, Bisset is so dominant as an actress that she steals our attention while not having very much to do. John Houseman is very balanced as Procane, but supporting roles by Maximilian Schell as Dr. Constable and Dana Elcar (who never removes his hat) as Charlie Blunt are flat and undemanding.
With regards to technical work and production vales, 'St. Ives' eclipses all of the later Thompson/Bronson films that lasted until 'Kinjite: Forbidden Subjects' in 1989. But for all of the excellent cinematography by Lucien Ballard and wonderfully-styled music by Lalo Schifrin, there are laughable moments such as a dead body whose eyes move and a drive-in movie screen that repeats the same footage at least three times. The few 'action' scenes involving Bronson aren't necessary and do little to generate tension. The concluding shootout is also disorienting, a bungle to follow.
While 'St. Ives' is not a bad film, it is hopelessly mediocre. Still, fans of Bronson and Jacqueline Bisset should find portions of the film enjoyable. At best, it is a charming time-killer that deserves an occasional broadcast on television. Its DVD is available from Warner Home Video and nicely presented in widescreen with Dolby enhancement of the original mono track; French 'dubbing' and three-language subtitles are provided. This disc includes a brief featurette on the making of 'St. Ives,' with the rare occurrence of Bronson discussing his craft. The original theatrical trailer is also supplied.
** out of 4
'St. Ives,' while being the first Thompson/Bronson film, was also one of the last major studio productions involving these two men. Eventually, they were turning out cheap but effective potboilers for the Cannon Group, including '10 to Midnight' and 'Murphy's Law.' And this is probably why 'St. Ives' can produce unfair expectations; while on a fairly large budget, the film is just one of many high-crime thrillers that were released in its day and sells itself as little more than that.
Bronson stars as Raymond St. Ives, a former Los Angeles crime reporter who is lackadaisically trying to earn his way as a novelist. Having recently divorced his wife and taken up residence at a cheap hotel, St. Ives is under demand to pay $1,000 a month in alimony. Raymond has a thirst for high living and gambles non-stop, habits that have left him short of cash; to pay the bills, he takes advice from his lawyer Myron (Michael Lerner) to act as a go-between for millionaire Abner Procane (John Houseman) and his assistant Janet Whistler (Jacqueline Bisset), who need to exchange ransom money for stolen journals that contain unsavory business dealings. While trying to complete the transaction, St. Ives stumbles upon one dead body after another and requires the help of his police lieutenant friend Charlie Blunt (Dana Elcar) to bail him out each time. Intrigued as a former journalist and in need of 'writing material,' St. Ives stays employed to Procane while trying to account for the murders.
While the cast of 'St. Ives' acquits itself under Thompson's straightforward direction, the film suffers from an erratic plot line and a script by Barry Beckerman that loses energy as it progresses. The first half of 'St. Ives' is quite engaging, as it tracks Raymond's activities as a go-between and his investigations of Procane. But out of nowhere, St. Ives decides to become a member of Procane's illegal operations while hoping to uncover the truth. The whodunit theme becomes one of mini-espionage as a result, with Bronson looking far too passive. By the film's conclusion, Bronson seems almost a marginal character, no longer the main person of focus. Barry Beckerman's script (based upon a novel by Ross Thomas) also has a comic tone so predominant that it's nearly impossible for any true conflict to develop. The film gathers no momentum and becomes pedestrian.
A large part of why 'St. Ives' fails in its second half is the growing presence of Jacqueline Bisset, who was terribly miscast as Janet. Bisset's role as the henchwoman requires a character actress who mixes cold-heartedness with just enough good looks to attract Raymond. Whether it's because Bisset looks taller than everyone else, has a pleasant voice, or is just plain gorgeous, she has such a wonderfully feminine presence that you could never really buy into the idea of Janet killing people. To make matters worse, Bisset is so dominant as an actress that she steals our attention while not having very much to do. John Houseman is very balanced as Procane, but supporting roles by Maximilian Schell as Dr. Constable and Dana Elcar (who never removes his hat) as Charlie Blunt are flat and undemanding.
With regards to technical work and production vales, 'St. Ives' eclipses all of the later Thompson/Bronson films that lasted until 'Kinjite: Forbidden Subjects' in 1989. But for all of the excellent cinematography by Lucien Ballard and wonderfully-styled music by Lalo Schifrin, there are laughable moments such as a dead body whose eyes move and a drive-in movie screen that repeats the same footage at least three times. The few 'action' scenes involving Bronson aren't necessary and do little to generate tension. The concluding shootout is also disorienting, a bungle to follow.
While 'St. Ives' is not a bad film, it is hopelessly mediocre. Still, fans of Bronson and Jacqueline Bisset should find portions of the film enjoyable. At best, it is a charming time-killer that deserves an occasional broadcast on television. Its DVD is available from Warner Home Video and nicely presented in widescreen with Dolby enhancement of the original mono track; French 'dubbing' and three-language subtitles are provided. This disc includes a brief featurette on the making of 'St. Ives,' with the rare occurrence of Bronson discussing his craft. The original theatrical trailer is also supplied.
** out of 4