The Black Windmill features Michael Caine and John Vernon shooting it out with Uzis. I’m sorry, I’m wrong. They’re shooting it out with MAC-10s. It’s an absurdity worthy of Siegel’s directorial protege Clint Eastwood–actually, Eastwood might have been paying homage to Siegel’s choice of lunacy here in Blood Work (when the serial killer happened to have an M-16 handy). Without Eastwood the star, however, Siegel is lost. The Black Windmill is excruciatingly boring. Something about the way it’s shot makes it unpleasant to watch. It’s too muddy and Siegel’s out of place shooting in London. He feels like he’s shooting a tourist film, not something natural.
Shockingly, the film does offer one of Michael Caine’s finest performances. Really. The script occasionally fails him, especially when it comes to the story between him and his wife (played by Janet Suzman, who fluctuates). It’s too short on the character relationship and too heavy on the bad intrigue. There are some nice performances in the film–Donald Pleasence is great as Caine’s suspicious, clumsy, neat-nick boss. Joss Ackland shows up for a few minutes and is real good. John Vernon is terrible. I once tried watching this film… ten years ago, probably, and Vernon’s scenes probably made me turn it off. He does accents (poorly) and then he’s just in the film far too long. John Vernon is fine, so long as he’s not around too long. He’s around way too long in The Black Windmill.
Some of Siegel’s work–just the shot construction–is really nice. The action scenes are mostly crap, just because he’s so out of his element, but he takes a sensitivity to the actual relationship between Caine and Suzman–Caine’s a spy whose son is kidnapped (it makes no sense, which is why I didn’t bother bringing it up earlier)–and it’s a sensitively I’m not used to seeing from Siegel. It’s a sparse sensitivity, but I would have loved to have seen more. Instead, there’s three or four chase scenes and a shootout. With John Vernon and Michael Caine and machine pistols….