Freelance (1970)

A very feeble attempt at affirmatie action

This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

CON MAN was the title this film was given when it was released in the USA on video in 1992. The film's original name when released theatrically in 1971 was FREELANCE. Ian Mcshane was only 28 years old during filming. In virtually ever scene, highly engaging, and charismatic, McShane carries the film with great skill. This film is a good example of his early talent. Anyone mainly familiar with his work in LOVEJOY or DEADWOOD would be surprised to see him at such a young and attractive stage of his life. The film is also recommended for its background of the West End of London during the late 60's-early 70's era. CON MAN is a touching little character study with a bit of intrigue and suspense thrown in, and a nice twist at the end (no spoilers here). I consider it one of McShane's best starring roles and wish he had been cast in more movies like this. Trivia for fans: In one scene McShane's character, 'Robin Mitchell', is asked to sign his name to a piece of paper. He holds it up against a window several feet from the camera, and yet anyone familiar with McShane's unique signature can see that he proceeds to write "Ian Mcshane" on the dotted line.

Freelance is an unheralded but pretty good gangster film starring the gregarious Ian McShane as Mitch, a wide boy who makes his living by showing blue movies and arranging shady land deals. He witnesses and stops an apparent mugging on the street, little knowing that he's stepping into the midst of a gangland dispute bigger than he is. Before long he's targeted by the local boss, and Mitch spends the rest of the film trying to elude capture whilst assuring himself of enough income to maintain himself in hiding. As always, McShane is outstanding, and the rest of the cast is fine, including Texan Gayle Hunnicutt, admirable as Mitch's love interest, and Keith Barron as his smarmy but reliable pal Gary. There's a good (uncredited) folk rock title tune and terrific West End location photography. Fans of Get Carter (1971) will enjoy this minor little gem.