A Neglected Noirvember Treasure: The Hit

      We explore an underappreciated and often ignored treasure that you might not have encountered: Stephen Frears’ The Hit…

      As Noirvember comes to an end and everyone has no doubt enjoyed the best in film noir and neo-noir, there’s still a chance to add another recommendation that truly deserves your attention.

      Over the years, many films have gone unnoticed that perhaps warranted greater recognition or a devoted following. Some films achieve this. Considering just crime dramas, one might think of Soderbergh’s sleek, agile, and refreshingly straightforward The Limey, featuring Terence Stamp back in a familiar role and receiving ample praise. Alternatively, one could appreciate the fervent admiration and direct quotations from fans of Jonathan Glazer’s Sexy Beast. These films captured the attention of cinephiles and even some mainstream audiences.

      One film that has only recently started to receive its deserved recognition (thanks in part to a Criterion Blu-ray release in 2020) is The Hit. This modest, somewhat scrappy yet stylish neo-noir hitman/gangster movie from 1984 is noteworthy.

      The catch? It’s an early work by Stephen Frears, a director often linked with prestigious Oscar-contending British films like The Queen, though his resume is surprisingly diverse, spanning various genres and budget ranges. The Hit features Terence Stamp as Willie Parker, a retired criminal who has been hiding in Spain after betraying his employers a decade earlier. His former life catches up with him when two hitmen—John Hurt and his protégé Tim Roth—abduct him, planning to take him to their boss in Paris for execution.

      The plot is straightforward and compact, driven by Frears' creative enthusiasm and the vibrant flair akin to a skilled flamenco guitarist. It also boasts an engaging all-guitar score, starting with an opening bluesy theme by Eric Clapton, followed by flamenco elements (thanks to Paco de Lucía) that imbue the arid Spanish landscapes and long roads with a Western vibe. Despite considering myself a film enthusiast, I only recently discovered this movie through various mentions and a Criterion Closet video, which ultimately led to its availability on Amazon Prime (UK).

      Is it on par with Sexy Beast or The Limey, or the other cult, straightforward, low-budget crime thrillers from the 80s and beyond? Perhaps not as much as the former, but it certainly rivals Stamp’s other gangster film. The distinction lies in the fact that while Stamp portrays a volatile character in The Limey, the Parker here is more contemplative and philosophical.

      Frears, adapting a script by Peter Prince, explores the idea that Parker is subtly taunting his captors, waiting for the right moment to escape. He indeed provokes them, attempting to drive a wedge between the weary hitman and his somewhat naïve successor. Meanwhile, Parker seems to have come to terms with his impending death. His past has caught up with him; attempting to flee again would likely lead to futility, but is he genuinely as resigned to his fate as he appears?

      Thus, beneath this darkly comedic neo-noir road movie lies a reflective narrative not just from Parker but also from Hurt’s stoic hitman, whose career is reaching a breaking point. One job too many, one kill too many, and the cycle repeats. Roth is full of exuberance as the ambitious newcomer who still has much to grasp about restraining urges and planning ahead. Frears skillfully weaves this into a compelling journey marked by rising stakes and challenges, particularly when they inadvertently take hostage a young Spanish woman, Laura del Sol, who speaks little English and becomes an occasional fiery (survival-driven) distraction amidst the hitmen.

      At this stage in his career, Frears was quite seasoned in television, although less experienced with feature films. He had previously directed another somewhat forgotten noir film (Gumshoe) in 1971 with Albert Finney. Yet, similar to Scorsese’s approach in After Hours or Cape Fear, it feels like an established director enjoying what might have been perceived as a comparatively simple film (thematically) and having a blast with it. His approach is distinctively idiosyncratic, featuring great blocking, dynamic camera work, and a style reminiscent of jazz improvisation. The outcome is irresistibly energetic cinema.

      With its recent restoration and impressive cast, it is hoped that Frears and his team will garner more recognition for this overlooked gem. During this period, particularly in British cinema, the crime/gangster film seemed to lose some of its momentum. Such films often remain sidelined during award seasons (though Roth received a BAFTA nomination for Best Newcomer). This title rarely surfaces in genre discussions compared to films like The Long Good Friday. The raw, imperfect visuals that lend character to the film, alongside some beautifully captured night scenes, are further enhanced with the HD polish that comes with Criterion's improvements.

      As for the late, great Stamp