Before I saw Death Wish, I knew there was more than just the context of it being a starring vehicle for one of the major bad-asses of the action picture, Charles Bronson (who's best role is still the one with the least words, Once Upon a Time in the West), and that it contains the elements that would spark an entire sub-genre (for better or worse). I knew that there was also a kind of historical context for the times, of how it was in New York City as well as in others during the 70's (though especially in the 70's)- I remembered my mother telling me about how the atmosphere of 'Death Wish' with its thieves and rapists and abusers was for real, that they were around every corner, and that crime was indeed at an all-time high then. So watching the film with this in mind, it brings a little extra drama to the story of Paul Kersey (Bronson). There is the style, and underlying humor, that appeals for the genre fans (and there is a minor bit of exploitation in making Kersey a 'bleeding heart liberal' with skill behind a gun). But there is also a sense of overall tragedy to it all.<br /><br />The tragedy comes out of a truly disturbing scene- Kersey's wife and daughter go home from the market, unaware that a trio of hoodlums (one of them a fresh-faced Jeff Goldblum no less) follow them, bust in, and beat and rape them. This is indeed so terrifying and real it tops a scene like the one in Clockwork Orange with the assault on the writer; it's somehow even more shocking when its in an apartment in the now, with hoodlums as random and sadistic as the ones here. Kersey mourns the loss of his wife and daughter (the latter to dementia) briefly, but it sticks with him through the whole film, in one way or another. The first signs of him knowing what's around him on the streets at night (and one of the funnier bits of the film's bleakness) is when he takes a sock full of quarters to use on the hoodlums. This is short-lived after a visit to the south-west, where he gets slipped a gun in his suitcase. The rest of the film unfolds as it would, at least under the circumstances of the genre.<br /><br />Yet within the grip of Death Wish being a genre picture (and this is something that the sequels and other lessor B films have forgotten) is that there has to be a sense of reality, and real dangers, to the film, not to mention the sort of evolution of Kersey into how he becomes- a killer, a vigilante of the scum who try to rob and threaten to kill. Although the police procedural that parallels his story isn't as strong as his, it works fine within the scope of the story that has to turn out in a certain way. But there are other factors to go with it besides a strong story (based on an even stronger book Brian Garfield). Bronson is, indeed, great at being, well, Bronson. If the violence in the film doesn't pull any punches for its time period, Bronson doesn't skip being good at showing Kersey's inner strength of defense as well as his weaker side. It's not a very complex performance aside from the conflicts midway through the film with Kersey, but it's in a way truer than the film could deserve. Michael Winner, the director, is also an asset with this, in giving to the film its gritty tone. And, as an added bonus, there's the sweet musical score from Herbie Hancock.<br /><br />Death Wish is a film of its time, but one that still has significance, and entertainment value for today. People my age (i.e. college kids) will be attracted to it for its 'retro' style, and, as it is in the vein of a film like Taxi Driver (though less visceral), as a stylistic action film. And for the older folks, the drama of the film, and the solid storytelling, will keep it interesting. In short, it's the proverbial good vigilante film of its time, giving Bronson one of his most memorable turns.