Review: Black Jack

Peter Cushing plays Sir Thomas Bedford, who plans the heist of a casino in Spain, a crucial if unwitting participant being an ‘afro rock’ singer Dynamite Duck (a barely intelligible Max H. Boulois), who is performing at the casino. Cushing hopes the performer will provide a nice bit of misdirection, unfortunately things become unstuck when a second group of robbers turn up and a hostage situation ensues. Hugo Stiglitz plays the dogged police commissioner, whilst Brian Murphy plays one of the casino guests who is trying to cheat at the pokies.

 

Supposedly never given a release in the US or UK, this 1981 cheapie from writer/director/composer/star Max H. Boulois (who only directed two other films) is one of the more obscure films in the career of Peter Cushing. And probably one of the worst. A Spanish-UK heist film, it’s easy to see why this is so unknown: It’s so nondescript and subpar that no one has likely cared to make it more widely available then or now. Boulois is a pretty dreadful filmmaker, giving us some of the sloppiest treatment of a pretty decent heist plot I’ve ever seen. The film is borderline incoherent and extremely sluggish, it quickly falls off the rails and never recovers.

 

In a role originally offered to Donald Pleasence, Cushing is classy as ever, but despite top billing his role is more guest star status. The thing is, the role really ought to have been more significant when you consider the plot. So one wonders if Cushing’s availability was severely limited, because he’s frequently absent here. The real lead is Mexican actor Hugo Stiglitz, rock solid as the police commissioner. It was also a nice surprise to see Brian Murphy of “George and Mildred” fame in a funny small role. On the downside, the supposedly ‘Afro rock’ stylings of Mr. Boulois in his on-screen role are baffling and displeasing to the ears. I don’t quite know what ‘Afro rock’ is but I’m pretty sure it was outdated by 1981. His overall music score is more varied, the flamenco music we get early on is droning and boring, though it soon turns into more Morricone-esque disco-pop (ala “The Untouchables”) which is slightly more pleasurable. Also, what a terrible waste of Claudine Auger as Boulois’ publicist, a nothing role.

 

Obscure, dreadfully dull caper vanity project for Mr. Boulois deserves its forgotten status. Nothing much to see here, move along.

 

Rating: D+

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