Charley Varrick Reviews

An underrated crime-thriller from director Don Siegel (Dirty Harry), 1973's Charley Varrick is a cracking film that remains as potent and enjoyable as ever over five decades after its release. Also known as The Last of the Independents, a title that feeds into the movie's thematic undertones, Charley Varrick is one of those hard-boiled, no-nonsense '70s thrillers aimed primarily at red-blooded males, reminiscent of The Taking of Pelham One Two Three or Siegel's Escape from Alcatraz. Tightly constructed, occasionally amusing, and with savage bursts of violence, there is plenty to recommend about this memorable cult classic.


A self-employed cropduster and former stunt pilot, Charley Varrick (Walter Matthau) stages a bank robbery in a small New Mexico town with help from his accomplices, including Harman (Andy Robinson) and his wife, Nadine (Jacqueline Scott). Nadine is mortally wounded in a shootout with local police officers, leaving Charley and Harman to split the cash after making their getaway. However, upon arriving at Charley's mobile home, they discover that their earnings are far higher than anticipated, with the haul amounting to three-quarters of a million dollars. Despite Harman's excitement at their newfound riches, Charley suspects the money is dirty and belongs to the mob, meaning their lives are now in grave danger. With local law enforcement investigating the crime and the media reporting that the robbers only made off with $2,000, a mafia hitman known as Molly (Joe Don Baker) is hired to recover the money by any means necessary.

With a screenplay credited to Dean Riesner (High Plains Drifter) and Howard Rodman (Coogan's Bluff), Charley Varrick is told with superb precision and clarity, and there is scarcely any fat on the movie's bones. Siegel does not waste any time, diving straight into the bank robbery that occurs in the first scene, and sufficiently developing the characters after the fact without grinding the pace to a halt. Indeed, instead of cutesy scenes with the leads before the robbery, the movie neatly sketches each character through the action, with tensions running high between Charley and Harman while Molly ruthlessly hunts for information and leads. Miraculously, too, the movie does not take the characters for idiots - even the police officers are competent. Virtually every scene throughout Charley Varrick feels essential and serves a purpose, and Siegel keeps things moving at a confident pace, with the picture carrying a refined brevity that allows the beefy 110-minute running time to fly by. It does begin to drag a tad during the final act, but the climactic showdown is well worth the wait.


The technical presentation is spectacular, with Siegel demonstrating his superlative skill and expertise in both the action set pieces and the smaller, more intense character-based moments. The opening bank robbery is a masterclass of tension-building and no-nonsense precision, and it is all the more effective after the innocuous opening title sequence showing everyday people going about their regular lives. Siegel does not hold back on the violence, which is vicious and shocking but nevertheless tasteful, as he does not dwell on the bloodshed. The destructive vehicular stunts peppered throughout the movie hold up to 21st-century scrutiny, with a standout early car chase and a climactic skirmish involving Charley's plane. Lalo Schifrin's score adds another layer of intensity and flavour, enhancing the picture's cool '70s vibe.

Charley is a great character, and it is a pleasure to watch him execute his master plan to evade both the mob and the police. Cunning and focused, Charley manages to outsmart his pursuers by staying a few steps ahead of them, and it is a fantastic role for the matchless Walter Matthau. The only misstep is portraying Charley as a ladies' man - Matthau is a great actor, but he is not a sophisticated, charming James Bond type. He is well-matched with the fantastic Joe Don Baker, who gives Molly a sadistic and violent edge. Also worth noting is Andy Robinson, who was so spine-tingling as a Zodiac-esque killer in Dirty Harry and who here plays Harman as a naive but antsy and overexcited accomplice who cannot appreciate the gravity of the situation. Robinson is well-matched with Matthau's understated, calculated demeanour, and their scenes together are consistently compelling. Another standout is John Vernon as the authoritative mafia boss, Maynard Boyle, maintaining a calm exterior that masks a ruthless and dangerous persona underneath.


The picture's original title, The Last of the Independents, is written on Charley's cropdusting work van, and invokes the theme at the heart of this story: independent, family-run businesses versus organised corporations. The script implies that Charley is destitute and finds it impossible to make an honest living due to big companies taking over, and his decision to rob the bank is an attack against what he calls "the combines," even asking the bank employees if they are willing to die over somebody else's money. It's a subtle but effective message, giving the movie a touch of cultural relevance. Charley Varrick is a classic manly movie in every sense of the word, bolstered by the pitch-perfect performances, engaging dialogue, smooth storytelling and outstanding action set pieces. It deserves more attention and recognition than it appears to receive.

7.9/10

In this movie all women are stupid, easy, limited, shallow and sexy. Most men are stupid, vicious, violent croocks. The only half decent character is Varrick and only varely. The antagonist is evil enough, but uninteresting.

Kind of a shame, because there are some golden and intelligent moments there.