Culture Snappin’ USA – Part 3 – Death Wish (1974): Filming Locations

“We were driving to Kennedy airport in 1973 to shoot the last scene of The Stone Killer, the third film we made together, when Charlie asked me what we should do next. I told him I had this script about a man whose wife and daughter are mugged and then the man goes out and shoots muggers. I mentioned that I’d had it for five years but no one seemed interested. Charlie said, ‘I’d like to do it.’ I said, ‘What, you mean you want to do this movie?’ And Charlie replied, ‘No, I’d like to shoot muggers”.

Michael Winner – Director of Death Wish

Splash

Michael Winner’s 1974 film ‘Death Wish’ rarely sits upon any film guide’s top ten and yet it is one of the more referenced and controversial films of its era. Providing the same kind of view of the big apple that the Dirty Harry films had of San Francisco, the film shows muggers, hoods and rapists lurking around every corner and the thin blue line too powerless or apathetic to make any difference.

Enter one lone individual with a loaded gun and a sense of frontier justice and a franchise is born.

Following on from both the amazing Dirty Harry (1971) and the frankly pretty shit, Walking Tall (1973), Death Wish helped usher in a wave of vigilante films and was based upon Brian Garfield’s identically titled 1972 novel. Garfield reportedly having left a party on the upper west side of Manhattan (coincidently where Bronson’s character lives in the film), came back to find his car window broken and his coat stolen. Thinking to himself how he would’ve killed the perpetrator if he had caught him in the act, Garfield conjured the idea of a twisted avenger, an accountant no less, taking revenge on any scumbag that crosses his path in the wake of his wife’s murder.

Like the protagonist of First Blood by David Morrell, which was later turned into the first Rambo movie, this character was damaged and becomes increasingly more so though out the course of the story. The film’s main character Paul Kersey however, like the cinematic version of John Rambo, was seen as a hero at the time of the film’s release with his psychopathic actions ignored or downplayed. Echoes of the psychosis may be seen in Bronson’s stony faced performance, but whether by Winner’s design or Bronson’s lack of ability, they remain only that.

Winner & Bronson(Ronald Grant Archive)

Michael Winner & Charles Bronson On Set. Ronald Grant Archive

The book was purchased by a film production duo, who after commissioning several drafts, on sold it to the Italian movie magnate Dino de Laurentiis, who hired Michael Winner, who in turn cast Charles Bronson with whom he had previously worked. Filmed on location in New York City in January 1974, Bronson, as Vincent Carnaby memorably describes in his contemporary review, “…roams the night time streets of New York, which… are so filled with vandals, would-be muggers, rapists and the like that Charlie never goes home without scoring. On streets, in parks, on subway platforms, in subway cars. It’s like shooting ducks in a bird sanctuary”.

In the face of such criticism, producer de Laurentiis stated, “Violence is not typical of New York alone. All big cities are jungles. New York is a symbol of all the metropolitan areas of our planet”.

Certainly, along with the previously noted The Warriors (1979), Taxi Driver (1976), Midnight Cowboy (1969), Coogans Bluff (1968) and The Taking of Pelham 1,2,3 (1974), this was a film that perversely made me want to visit New York City. An urban nightmare on the edge of insanity, an asphalt playground where anything went, New York seemed a million miles away from where I grew up watching it from the comfort of a VCR. Thankfully though, it was not like that when I visited and I was able to walk in Paul Kersey’s footsteps without fear of having to clock a mugger with a sock full of pennies.

Bronson Sock Full O Pennies

Charles Bronson And His Sock Full o’ Pennies. Screenshot by Author

As it was filmed in winter, many of the places I visited looked much the same 41 years later. The night before searching the locations, I watched a copy of the film from my base at the St James Hotel, itself featured in a number of films, notably Maniac (1980), Big (1987) and Cruising (1980).

St James Hotel

St James Hotel. Diptych by author

Over the course of the next afternoon/evening, I managed to find the D’ Agostino market featured prominently in the film, Kersey’s uptown apartment, the stone steps he walks down to shoot his first mugger (coincidently also used in The Warriors) and the midtown café where he lures two heist men to their doom. The café, although shuttered, still has the same neon sign it had in 1974, but midtown itself no longer has the scary vibe shown in Taxi Driver or Maniac. The closest thing I saw to crime was when some guy tried to sell me weed on the street.

Death Wish Credits

72nd Street Station. Diptych by author

Death Wish Apt Building1

Kerseys Building/ Sidewalk. Diptych by author

Death Wish Apt Building2

Kersey’s Building / Sidewalk. Diptych by author

Death Wish Service Entrance

Apartment Service Entrance. Diptych by author

Death Wish Steps

Riverside Park Steps. Diptych by author

Death Wish Bus Stop

Where Kersey Gets Off The Bus. Diptych by author

Death Wish_Subway

8th Avenue Subway. Diptych by author

The results of this exploration may be seen in another shakily filmed clip below. In my own defence, it was freezing when I shot this footage and every removal of my gloves almost resulted in frostbite.

 

Almost a decade later Winner resurrected Paul Kersey for the incredibly scuzzy Death Wish II (1982) and the so bad, it’s downright awesome, Death Wish III (1985). Indeed Death Wish III has to be seen to be believed. Its cardboard characters are so caricatured as to almost be rendered as a live action cartoon.

Speaking of which, the 1974 Mad Magazine satire of Death Wish is pretty funny and I’ll close out this post with some selected panels. New York based William Gaines & Co. were on a streak between 1965 and 1985 that no other publication has ever matched.

Mad Panels 1

Death Wishers – Copyright E.C. Publications 1974

Mad Panels 2

Death Wishers – Copyright E.C. Publications 1974

 

Written and posted by Horatio Cornblower. Copyright 2016. All rights reserved.

Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to the author and The Eastern Terraces with appropriate and specific direction to the original content.

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Culture Snappin’ USA – Part One

Recently I had the good fortune to be able to go to the United States. Time was limited at just under 2 weeks and I elected to go to the places that interested me the most, primarily New York and northern California.

The reason for wanting to go to those cities so much is that I was weaned on 1960s / 1970s movies and pop culture and wished to make an effort to see many of the places I had either seen in movies or only read about in books. Whilst there, I frequently attempted to match the reality with the image… something I call Culture Snappin’ (trademark pending).

Obviously this has been done before, and certainly more successfully. However, to the best of my knowledge, no one calls it Culture Snappin’ and frankly, I’d like to see the name stick. [Click on pictures for larger view].

DH1

Dirty Harry (1971)

Orphans

The Warriors (1979)

DH4

Dirty Harry (1971)

DH2

Dirty Harry (1971)

Sudden Impact Logo

Sudden Impact (1983)

Midnight Cowboy

Midnight Cowboy (1969)

Misty

Play Misty For Me (1971)

Subway

Death Wish (1974)

The Enforcer

The Enforcer (1976)

Physical Graffitti

Physical Graffiti album cover (1975)

Lost Boys Bikes

The Lost Boys (1987)

Magnum Force Gusman

Magnum Force (1973)

Bullitt Crossing

Bullitt (1968)

DH3

Dirty Harry (1971)

Regrettably, culture snappin’ isn’t always easy. For example, trying to match up a famous photo of Steve McQueen with the exact corner he stole a newspaper from in Bullitt, necessitated me squatting in the middle of the street. This was literally impossible at 5.15 in the afternoon and I nearly had my ass removed by car bumpers in the attempt before giving up and taking this flawed version seen below:

Bullit Market

Bullitt (1968)

Similarly, the site of Ricca’s bloody death from 1973’s Magnum Force posed a problem as it is located right near a Freeway exit ramp and similarly requires a middle of the street low angle to pull it off. No easy feat at 3.30pm on a weekday, so this picture doesn’t match as I’d like either.

Magnum Force Ricca

Magnum Force (1973)

The building featured in Dirty Harry where he pulls a potential jumper from a building, was surrounded by homeless / crazy people at 1.30am when I took this picture. I literally had to wait for the all clear before leaping out of my car and taking the photo as quickly as possible while a basehead looking guy (reminiscent of Flava Flav’s lean years) repeatedly circled the block screaming ‘What time is it’!

Polk Logo

Dirty Harry (1971)

While this photo of the Cost Plus store used in Magnum Force (1973) is slightly flawed, I plead circumstance as I was fearful of waking the homeless guy who lay sleeping on the other side of the picture I am holding up.

Magnum Force Robbery

Magnum Force (1973)

My culture snappin’ was not limited to films either. I also managed to find cultural landmarks such as where John Gotti held meetings, album covers (such as those of Paul’s Boutique and Physical Graffiti), artistic touch stones in Greenwich Village, punk landmarks in The East Village/Bowery and places where Mafiosi met their ends, such as Joe Gallo in Mulberry Street.

Umbertos

Suffice to say, I got 28 GB of photos/video to sort out, so more to come as time and inclination permits. This is also dependent upon people not stealing my shit and claiming it as their own (see post below).

Written and posted by Horatio Cornblower. Copyright 2015. All rights reserved.

Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to the author and The Eastern Terraces with appropriate and specific direction to the original content.