
Ahoy, squirts! Quint here with today’s installment of A Movie A Day.
[For those now joining us, A Movie A Day is my attempt at filling in gaps in my film knowledge. My DVD collection is thousands strong, many of them films I haven’t seen yet, but picked up as I scoured used DVD stores. Each day I’ll pull a previously unseen film from my collection or from my DVR and discuss it here. Each movie will have some sort of connection to the one before it, be it cast or crew member.]
Today’s movie is one I’ve been hoping to get to for a while now. I originally bought it on Moriarty’s advice, the idea to throw it in with the other random horror movies during the HMAD October. He assured me that even though it was a heist movie that it’d fit right in with the list, especially if I had something like WAIT UNTIL DARK in the queue.

And he was right. Christopher Plummer’s Harry Reikle could comfortably compete with Alan Arkin’s Harry Roat for King Crazy of Psycho Mountain.
Elliott Gould plays the titular Silent Partner, a bank teller who stumbles across the planning of a robbery of his bank. The quiet, introverted man finds a note left behind when the robber got cold feet, demanding cash, as he cleans up one night. Through his own powers of observation he figures out who the would-be robber is… the Santa Claus in the mall where the Canadian bank is located.
He also figures out the man’s pattern and then decides to take a risk. Gould’s boss is a douchebag, cheating on his wife with Susannah York (Superman’s mommy), Gould’s fellow bank worker and object of his own desires… in short, he has no love for his employer and is smart enough to pull off a double cross.
When the Santa comes in the next day the conditions are perfect and the Santa approaches the window, hands over his note and Gould pulls all the money from his till (minus the major Christmas deposites from the retailers, which have been going directly into a lunch box under his till) and hands it over, tripping the alarm.

The Santa gets away and Gould plays it as if the man got away with more than the two grand in his till while pocketing the other $50,000 himself.
What he doesn’t count on is this Santa being fucking crazy and growing a rather large vendetta after he realizes this teller is running off with the money he’s accused of stealing.
The Santa is, of course, Christopher Plummer and we see the rage simmer as he watches the news broadcast about the robbery… It’s quite off-putting, only compounded when he gets a whore and beats the living shit out of her… including slowly crushing her head with his bare foot.

She doesn’t die, but he is able to vent a little bit and heads out.
What could easily have turned into a typical thriller instead takes a pretty awesome cat and mouse turn. Plummer has Gould beat in the crazy department, but Gould is nobody’s fool. He can be intimidated, but when a line is crossed Gould uses his intellect to really put the screws back onto Plummer.
The game is even set up visually when Gould first returns to his apartment and sees it has been ransacked. His chess set is set up by the window, the one working light aimed down on it. He communicates with Plummer via the phone, but sees him from the window. Plummer always calls from the payphone right next to the building on the street.

The movie gets extremely violent, surprisingly violent, with one of the harshest and most fucked up decapitations I think I’ve ever seen. It’s not the most graphic (the best onscreen decapitation is still David Warner’s amazing spinning head in THE OMEN), but in terms of brutality it’s right up there.
The filmmaking by Daryl Duke is a tad amateurish, but the hand-held and sparcely lit style does work for the movie. Curtis Hanson (director of 8 MILE and WONDER BOYS) acts as writer and producer and did a fantastic job on the script, adapted from Anders Bodelsen’s novel. He created two fantastic forces of nature. On one hand you have the raw fury of Plummer and on the other is the quiet intelligence of Gould. When they collide it’s pretty spectacular.

We guys get some welcome distractions in the forms of Susannah York and Celine Lomez. Lomez snuggles up next to Gould about halfway through and it’s pretty obvious she has a stake in the crime and is playing her own angle. God bless her for it. She’s gorgeous.
Also of note is a very early appearance by John Candy as one of Gould’s co-workers. Man, I miss John Candy so much. He doesn’t have much to do in the movie, but he has a few moments where the John Candy I grew up with in flicks like SPLASH, ARMED AND DANGEROUS and THE GREAT OUTDOORS (to name a few) shined through. The man had such a great, lovable personality. Just thinking about those films is making me really sad. At any rate, it was good to see more of him in this flick.
Final Thoughts: THE SILENT PARTNER is a raw, fucked up cat and mouse movie that is ten times more hardcore than anything you’ll see in theaters today, even indie theaters. The film is a fantastic character piece that takes two great character actors and smashes them together repeatedly. The resulting sparks make for a brilliant little underseen gem of a movie. I can’t recommend this one more… and if you’re not fucking terrified by Christopher Plummer in drag then you might not be a human being.

Here’s what we have lined up for the next week:
Saturday, December 27th: PAYDAY (1972)

Sunday, December 28th: A STRANGER IS WATCHING (1982)

Monday, December 29th: THE NEW KIDS (1985)

Tuesday, December 30th: SERIAL (1980)

Wednesday, December 31st: THE PRIVATE LIFE OF SHERLOCK HOLMES (1970)

Thursday, January 1st: IRMA LA DOUCE (1963)

Friday, January 2nd: THE PRISONER OF SECOND AVENUE (1974)

Almost caught up. Will have my Payday review written up before I sleep for the day and that should get me to current. We follow director Daryl Duke over to that flick, starring Rip Torn. See you folks then!
-Quint
quint@aintitcool.com













