New Face in Hell

This was the first 'X' certificate film I was able to see, under the UK title 'New Face In Hell' (at 103 minutes as opposed to the original 109 minutes). I've never forgotten it and have been searching for a copy of it for years. Can anyone explain why it's disappeared and has never been available? It was an exciting, smart, brutal thriller with a great cast, very slickly put together by a respected director. Here are some of the things I remember: a slow tracking shot going up to a white-haired Raymond Burr sitting at a desk as he explains to George Peppard what he wants him to do for him; George Peppard saying there'll be a "New face in hell for breakfast" when threatening somebody; a man being killed, very messily, under an underground train - a guard shouts "Somebody get a first-aid kit", to which George Peppard replies, "You're gonna need a big one"; and a huge splatter of blood when somebody's shot dead in the final scene. Not to mention various vicious fist-fights ... and the gorgeous young Gayle Hunnicutt. This was 'sex and violence' at its best! Come on, Universal, find it in your archives and get it released!

This Private Eye drama, set mostly in New York City in 1968, is an above-average film which is largely (and unfortunately) passed over by both network television and the movie rental industry. The low-key acting by Mr. Peppard is superb; indeed, he is probably at his best in this gritty PI flick which takes one from the dark subway stations of 1968 New York, to the glamour of a Carribean island, and back again. All the while, there is fantastic music, from the opening score to the recurring theme of "P.J." Raymond Burr is interesting and convincing as William Orbison, a rich, arrogant, scheming tycoon who hires P.J. Detweiler (Peppard) to protect his mistress Maureen Preble (Gayle Hunnicutt), but whom we always suspect of having other, darker motives. Coleen Grey, in a somewhat lesser role, is excellent as Orbison's bitter, scornful wife. Overall a very good, well acted drama, with plot twists, catchy music, and of course, a bit of Peppard's trademark dry humour.

This Private Eye drama, set mostly in New York City in 1968, is an above-average film which is largely (and unfortunately) passed over by both network television and the movie rental industry. The low-key acting by Mr. Peppard is superb; indeed, he is probably at his best in this gritty PI flick which takes one from the dark subway stations of 1968 New York, to the glamour of a Carribean island, and back again. All the while, there is fantastic music, from the opening score to the recurring theme of "P.J." Raymond Burr is interesting and convincing as William Orbison, a rich, arrogant, scheming tycoon who hires P.J. Detweiler (Peppard) to protect his mistress Maureen Preble (Gayle Hunnicutt), but whom we always suspect of having other, darker motives. Coleen Grey, in a somewhat lesser role, is excellent as Orbison's bitter, scornful wife. Overall a very good, well acted drama, with plot twists, catchy music, and of course, a bit of Peppard's trademark dry humour.

The private eye genre had something of a rebirth in the late 1960s, most notably with Paul Newman's excellent "Harper,'' Frank Sinatra's "Tony Rome'' movies and James Garner doing a nice turn as "Marlow.'' But George Peppard merits a tip of the fedora for his work in this forgotten goodie, "P.J.'' Peppard's PJ is hired as a bodyguard for a fat-cat's (played by a menacing Raymond Burr) mistress, unleashing a plot of double-crosses and, eventually murder. Peppard is great as a wisecracking P.J. Detwieler and the above average script is perfectly matches to his rapid-fire, half-bemused delivery. Gayle Hunnicutt is great as the kept woman, the fantastic (and overlooked)Brock Peters turns up in small, but pivotal role and a young, "pre-MacMillan and Wife'' Susan Saint James spews a few deliciously catty lines. And there is a great ending. Sadly, "PJ" can't be found on video or DVD. And I haven't seen it aired on tv since I saw it (and recorded it, luckly) when a Chicago station aired it 1986. Too bad. This little gem deserves to be seen.

After years of trying to see the original release version of the film, I finally acquired an uncut copy from a collector and must say I was puzzled with the outcome. There was the original, infamous subway scene intact, as well as the gay-bar beating. There are some really gritty location shooting in NYC, but its mixed with the most banal, studio bound bland scenes. If you can image a film that intercut the "French Connection" with an episode of "The Rockford Files" then you would get a good idea of how this film plays out. Not bad, but a disappointment. Don't even bother watching it if its the TV version, which cut out most of the gritty scenes.