The Mechanic

Head-to-head: The Mechanic (1972) vs. The Mechanic (2011)

Arthur Bishop (Charles Bronson in the original, Jason Statham in the remake) is the titular “mechanic,” a master assassin in the employ of a mysterious organization. Though he is well-paid for his work, Bishop is largely isolated from the world around him. After the organization forces Bishop to kill his friend and mentor Harry McKenna (Keenan Wynn/Donald Sutherland), McKenna’s son Steve (Jan Michael Vincent/Ben Foster) cajoles his way into becoming Bishop’s apprentice. The newfound partnership puts both men at risk.

Another year, another remake. While the Simon West-helmed version of Michael Winner’s existentialist action drama is relatively faithful (save for the ending), it lacks the solemnity, depth, and at times, even the excitement of the original. The lesson here, as always, is if it ain’t broke, don’t try to fix it.

Part of the discrepancy between the two films can be attributed to the casting and the different interpretations that the actors bring to their roles. No one will accuse Bronson of having great range, but his stoicism suited his part well: Bishop’s work makes him antisocial by nature. Statham looks pained for a moment or two, but his Bishop seems prouder (or at least more comfortable) with his place in the world and is little different from other Statham characters (that is to say full of snarky dialogue and hell-bent on causing injury/getting revenge). In support, Foster has proven himself adept at playing volatile or deranged young men (and does so here), but a pre-Airwolf Vincent upstages him. The latter’s take on Steve is complex, enigmatic, and calculating; in other words, far more interesting than Foster’s hot-head with something to prove. The only role to get an upgrade in the remake was that of Harry McKenna. Wynn’s Harry is so unctuous and naïve that you practically can’t wait for Bishop to put a bullet in him. Sutherland’s wheelchair-bound version is much more savvy and has a cynical edge.

Differences in style also point to the original’s superiority. West’s film is louder and more kinetic, but truthfully not really more exciting. In a “been there, done that” era of filmmaking, none of the fights, shoot-outs, or other stunts stand out. While Winner’s film is slower and has its dull moments (the first several moments of the film contain no dialogue), the action sequences seem more meaningful. A car chase on a twisty mountain road still seems harrowing even though similar scenes have been shot over the years. Credit Winner for not drowning out pivotal moments in noise.

Perhaps the biggest difference between original and remake is the treatment of the protagonist, and, by extension, the viewer. In the original film, Bishop is resigned to the life that he has lived. He is not happy about it, but he accepts it for what it is. His attempt to break the mold is met with calamity. All of these combine to make him a tragic figure in our eyes. In the remake, Bishop is elevated to the role of hero, and the organization for which he completes “assignments” is cast in a more one-dimensionally villainous light. This makes for a far more dumbed-down and less interesting narrative, and the changes to the film’s oft-imitated ending (hint: read the note before you start the car) likewise feel cheap.

Dated and stilted as it may occasionally seem, the 1972 version of The Mechanic is a stark look at a loner battling with change. The remake, while serviceable as an action film in its own right, is style over substance and a clear step down.

1972 original: 7.75/10

2011 remake:  6.25/10