The Ballad of Hank McCain

John Cassavetes stars in the title role of MACHINE GUN MCCAIN (1969) aka Gli Intoccabili, an Italian crime drama directed by Giuliano Montaldo.

Lean, mean and paranoid, convict Hank McCain (John Cassavetes) is sprung from prison by West Coast mobster Charlie Adamo (Peter Falk) to rob a Las Vegas casino that is owned by an East Coast Mafia boss in the same syndicate. Adamo’s underhanded attempt to muscle in on his fellow gangster’s territory ignites a gangland war between factions with McCain caught in the middle and running for his life after he successfully pulls off a $2 million dollar heist. Along the way, McCain is double-crossed by his own son, hooks up with Irene (Britt Ekland), a bar hostess, is briefly reunited with his former mistress Rosemary (Gena Rowlands) and goes down fighting in a genuine noir finale. Although it didn’t get any respect from the critics or even much notice from film reviewers at the time, Machine Gun McCain (Italian title: Gli Intoccabili, 1968) is a remarkably taut, fast-paced B-movie crime thriller that is as feral and cagey as its title hero. Cassavetes imbues his role with a pent-up intensity that threatens to explode at any moment and often does. It’s one of his best performances and demonstrates why he was more in-demand as an actor in Hollywood instead of a director.

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Sin City Mercenaries

Las Vegas aka Sin City, the gambling mecca of the world, might be a symbol of capitalism at its worse but it makes an irresistible location for a movie with its dazzling neon lights and nightlife diversions from extravagant musical revues to strip clubs to glittering casinos. The intoxicating atmosphere has been featured prominently before in musicals like Meet Me in Las Vegas (1956) and Viva Las Vegas (1964) as well as comedies (Honeymoon in Vegas [1992], Fear and Loathing in Las Vegas [1998]) and dramas (Leaving Las Vegas [1995], Casino [1995). But I especially enjoy the crime caper films set in Sin City such as Ocean’s 11 (1960) and the remakes it inspired years later starting with Steven Soderbergh’s Ocean’s Eleven (2001). To this list, I have to add an often overlooked but superior genre entry from 1968 – They Came to Rob Las Vegas

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