Can't deny that "Death Wish" is a cultural icon, but blast me if i don't know why. Maybe it's not that it responded to the high crime rates of the mid 70s in an effective way, but that the crime rates were high in the 70s because society was going thru such a stupid period that movies like "Death Wish" became box office successes. Bad acting, cliched writing, slow pacing, mindless story. i dont feel like writing about it anymore. it doesn't merit more thought.

I will get To the point i have been to the middle (god forbid ) East , Far East (not bad ,fine babes ) Europe not bad ,and the Good Ole U.S.A. where i served Uncle Sam as an enlisted and Officer for over 21 yrs. Small Towns 48,000 now are are out of control !! i was born and bred in the Northeast and for about 2 yrs. a southern state ,the South is now worse than the North...i have even with 5 different diseases,work with many different folks in law enforcement ,do we need Paul Kersey ,Yes and No,but you need me!! because i will also stop crime in my way as well ;BUT make no mistake ,this country, The U.S.A. is headed for BIG trouble,i do not fault video games,play em myself,but i do fault punk parents,Gangsta Rap ,and 2 much freedom of speech...i spent the 70's 80's,90,s in Korea ,Japan ,Hong Kong, And the most tame : South Korea is also (copying us) with Hip Hop ,Crime,etc....Brace Yourself cuz we are in for a rough ride.........

[...] I guess nobody told him that you are supposed to let the system handle criminals and hand out punishments. This movie is about a man who sees his wife and daughter victimized by street thugs. His wife is killed and his daughter is mentally damaged by the event. The police don't seem to provide any assistance so he takes the law into his own hands. Eventually the police catch on to his secret operations against street criminals, but they don't arrest him, they simply advise him to move away. This is where the Death Wish sequels pick up. Great movie with a great icon.

Deathj wish DVD

When we first meet Paul Kersey, he is in all respects a gentle man. A successful architect who is happily married (Joanna, Hope Lange) and a proud father of his beloved daughter, he is carefully positioned as a law-abiding citizen. To repeat, a gentle man. Over time, after his wife and daughter are brutally attacked by thugs who escape punishment, Kersey commits himself to ridding the city of such creatures. In fact, he seeks them out in the most likely areas (e.g. public parks and on subways), coldly and systematically killing as many as he can. Of course, other law abiding citizens are wholly supportive of his efforts but law enforcement officials correctly fear the possible implications of such vigilantism. Paul goes to Tucson to help a developer with a new development. The Developer is so appreciative he gives Paul a little going-away present, what looks like a .32 caliber revolver. Who gives someone a .32 a sissy hand gun? Wouldn't a .45 Long Colt have been better?
Director Michael Winner does a brilliant job of orchestrating Kersey's crusade with efforts by detective Frank Ochoa (Vincent Gardenia) to identify and then capture the public hero. Ochoa seems torn between admiration of such heroism and obligations to end it. Many of those who live in areas plagued by violent crime admire this movie. Others quite properly have concerns about anyone who "goes outside the law," as Kersey obviously does. Who among vigilantes will be Paul Kerseys? Most in the audience in the theatres stand and clapped when Paul shoots the first mugger, Then Paul goes a trolling for muggers. Quite a popular film in it's day.

Highly recommended for fans of Charles Bronson, the Death Wish series, justice for the little man. It was around this same time that Tom Clancy wrote Without Remorse, a similar themed book.

Gunner January 2008

To be sure, "Death Wish" is dated; many of its more sheltered detractors accuse it of being an exaggerated portrayal of NYC crime in the '70s. These criticisms are as precious as they are confused. While it's certainly a sensationalist and exploitive film, the crimes featured in it were quite commonplace, as were their depicted frequency.

While always capable, Charles Bronson was never a terribly nuanced actor. His straightforward, understated performance here is as powerful as it is reserved, relying on his talent for subtle expression and his considerable screen presence. His Paul Kersey is a mild-mannered architect of trendy sensibilities: his heart bleeds ever so sweetly for the underprivileged, regardless of the criminal element so prominent among them. But when his wife is murdered and his daughter is beaten and raped by a gang of "underprivileged" thugs, Kersey experiences a dramatic change of opinion. His gradual transformation from a gentle professional to a hardened, vicious vigilante is realistically portrayed - an impressive aspect of the film that owes as much to Michael Winner's tense, blunt direction as Bronson's striking performance.

Although it's frequently brutal and a bit clumsy in spots, "Death Wish" provides a perceptive and even compelling perspective of its subject matter. I've read and heard this film referred to as "pro-gun propaganda" more than a few times, and while that description is over the top, there's no doubt that screenwriter Wendell Mayes was catering to the victimized everyman when he adapted Brian Garfield's novel of the same name to the screen. Ultimately, the core issue of this movie is not the subject of guns but instead the cost of so-called civility. When a society makes self-defense practically impossible for the average individual and law enforcement establishments are unable or unwilling to fulfill their tasks, what reasonable course of action can that everyman engage in? While Kersey's choice of action is extreme and probably misguided, it isn't impossible to relate to.

I've read several times that this movie's infamous rape scene has been trimmed for video release. I can't say that I mind this particular instance of omission; rape scenes aren't exactly to my liking, this one is effective enough in its truncated form and any possibility that I might have had to see more of a young Jeff Goldblum's pale posterior is sufficient reason to trim a few offending bits. Regardless, I do find this a bit troubling. If Paramount cut something that I didn't care for, how can I expect the company not to treat something that I do like similarly in the future? This hint of censorious inclinations is hardly encouraging.

It's nice to see that "Death Wish" has been remembered and appreciated so many years after it first became a smash hit. It may well be the first American film about urban vigilantism, and it deserves its modest legacy. The absurd, frequently hilarious Golan-Globus sequels are a hoot, but this first entry is a film that you can take at face value.