It’s tough to find defenders of The Killer Elite. Watching the film without any knowledge of the chaotic production or of director Sam Peckinpah’s personal, financial and artistic woes at the time probably makes for a bland and unexciting viewing experience; sadly, a little background on Peckinpah effectively makes it even worse, as it’s hard to watch The Killer Elite without noticing that the gleefully indulgent heart characteristic of his best films seems to have vanished.
The set-up ain’t bad, although that hardly ever matters in the hands of a capable director. James Caan and Robert Duvall star as CIA-contracted assassins and friends who have worked together for years. Duvall’s George betrays Caan’s Mike, shooting him in the elbow and knee and leaving him badly crippled. The rest of the film follows Mike as he recuperates, retakes his post at the shady government operations agency, and ultimately seeks revenge on his old pal George.
There are plenty of rumors associated with The Killer Elite that may or may not be true. First is that Peckinpah took the project specifically as an attempt to recreate the financial success he had with the Steve McQueen-starrer The Getaway, which marked the last financially successful movie Peckinpah would direct. Bring Me the Head of Alfredo Garcia was both more in line with Peckinpah’s Western sensibilities and more of a box office flop, and so it is admittedly easy in that regard to draw parallels between The Getaway and The Killer Elite. The fact that the project may have been more associated with money than with any real passion pretty much sets the thing up for failure out of the gate.