Charles Bronson plays a detective in this confused but fascinating slice of '70s crime cinema.
The Big Picture 1973's mostly-forgotten Charles Bronson vehicle The Stone Killer directed by Michael Winner is all at once pulpy, tone-deaf, and deeply revealing about the time and place in which it was produced. The Stone Killer's plot is incomprehensible and the movie itself doesn't seem all that interested in the machinations of the world of the mob — it's primary subject matter. At its core, The Stone Killer is about a cop that is very good at killing.
Shortly after this introduction to our protagonist, The Stone Killer cuts to a funky title sequence in vibrant shell pink in stark contrast to the loss of young life that occurred a few minutes prior. Just imagine if the death of Radio Raheem in Do the Right Thing was immediately followed by "Jungle Boogie" by Kool & the Gang and you have a fairly decent sense of the jarring tonal shift that occurs at the beginning of The Stone Killer.
The thriller goes out of its way to make Torrey palatable as a character despite his proclivity for killing the people he is supposed to bring in. The Puerto Rican kid, in the beginning, is just the first instance of this, highlighting the duality of Torrey's character. There are many instances in which he seems to care about reforming the justice system and the noble nature of being a law enforcer.
The action scenes are handled about as elegantly as the rest of the film, but that's what makes them great. They're so clunky and haphazard that they actually feel somewhat dangerous. Knowing full well that the filmmakers did not have access to today's technology makes them even more impressive. The danger proved to be palpable as the stunt coordinator, Alan Gibbs received serious injuries during shooting, as detailed in The Films of Michael Winner.
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