Mad Bomber, The (1973)

Mad Bomber, The (1973)

“I want to catch this son-of-a-bitch before he blows up Los Angeles!”

Synopsis:
A police detective (Vince Edwards) in Los Angeles attempts to find a serial rapist (Neville Brand) who may know the identity of an insane bomber (Chuck Connors).

Genres, Themes, Actors, and Directors:

  • Detectives and Private Eyes
  • Los Angeles
  • Neville Brand Films
  • Terrorists

Review:
Writer-director Bert I. Gordon (working from a story by Marc Behm) helmed this low-budget vigilante-psycho thriller set across the diverse streets of Los Angeles, featuring the potential of harm at literally every corner.

Bespectacled Connors is about as unhinged as you can imagine — but he’s in good company with sicko Brand, whose wife (Ilona Wilson) is at least somewhat in league with his perversions.

Given that obsessed Lieutenant Geronimo Minneli (Edwards) is on their tails:

… we’re guaranteed an action-packed and violence-filled adventure (which we get). Numerous sequences fall squarely within exploitation realm — be forewarned about several highly disturbing scenes — but to Gordon’s credit, one stays curious throughout about how things will eventually resolve.

Of special note: Edwards uses fancy facial “recognition” technology to craft an impressively effective visage of his suspect.

Notable Performances, Qualities, and Moments:

  • Good use of location shooting throughout Los Angeles

Must See?
No, though it’s worth a one-time look.

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One thought on “Mad Bomber, The (1973)

  1. First viewing (10/5/20). Not must-see.

    Considering this is a Bert I. Gordon film, it could be a lot worse; it could – for example – be like ‘Village of the Giants’ (yikes!). But Gordon isn’t in sci-fi-land here, he’s going for realism. He shows here that he’s not untalented but, still, the film isn’t all that good.

    Mainly, it’s not very well-written and seems thrown together. There are some odd jumps in the narrative. Edwards gives a sort-of one-note performance as the cop; Brand wrestles with perhaps the most peculiar depiction of a rapist I’ve ever seen; Connors is surprisingly committed, energy-wise, in what is still an under-developed role as the titular character.

    Admittedly, the last 10 minutes have an appropriate nail-biting quality.

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