Prime Cut 1972

From the opening sequence inside a slaughterhouse, the film builds a grim, unflinching mood: the meat line runs alongside a human cadaver, a wristwatch ticks, a worker operates the sausage machine, and the brutal machinery of crime and commerce is laid bare. Lee Marvin as Nick Devlin, a WWII veteran and hard-edged enforcer for the Chicago Irish Mob, is summoned to Kansas City to collect a $500,000 debt from Mary Ann, the crooked operator who presides over the same slaughterhouse with a cold, practiced ruthlessness. The recipe for coercion is clear: money or more blood. Devlin is joined by a small, capable crew—hard-edged professionals who know the score and how to keep moving when the stakes rise.

Weenie, the estranged sister’s brother, is the loose cannon behind the scenes. He is played by [Gregory Walcott], a ruthless facilitator who has mastered timing and violence in equal measure. Weenie’s role becomes crucial when a fresh container of sausages is revealed to contain more than just meat, signaling that a murdered Chicago enforcer’s remains have found their way into Kansas City’s supply chain. Mary Ann’s operation is tied to a much larger network of intimidation, and the pressure to settle accounts intensifies when the Irish Mob chief in Chicago learns of the kind of debt Mary Ann is assuming to handle.

The man sent to collect, Lee Marvin as Devlin, arrives with a small posse that includes a ready-made muscle crew: a driver named Shay and a few younger hands, including O’Brien, who carries his own private history into the conversation and even makes Devlin meet his mother before the trip takes him deeper into hostile territory. The film quickly reveals a shared past between Devlin and Mary Ann through Clarabelle, who wanders the margins of the operation. Clarabelle is portrayed by [Angel Tompkins], and her presence hints at the personal entanglements that make the mission messier and more personal than a simple debt-collection job. Violet, played by [Janit Baldwin], is another figure from the same orphanage era, and her story threads through the tale as Devlin seeks to understand the human cost behind the money on the table.

In a Kansas City flophouse, Devlin confronts Weenie directly, and the encounter confirms that Mary Ann’s hold extends beyond money to fear and control. The next morning, Devlin and his crew locate Mary Ann in a barn, where she hosts a crude, white-slave auction with naked young women as the price of entertainment. Devlin demands the debt, but Mary Ann proposes that Devlin come to a public venue—the county fair—where the money supposedly awaits. The stage is set for a ferocious, deadly game between two teams with everything to lose.

At the county fair, amid a livestock judging contest, Mary Ann presents a box that is supposed to contain the cash. When Devlin opens it, he finds only a pack of beef hearts, a cruel reminder that violence and greed have corrupted every corner of this world. The deception escalates, and Violet acts as a distraction that allows Poppy, one of the enslaved girls, to slip away with Devlin’s group. Poppy’s backstory—told by the girl herself, recalling an orphanage in Missouri and a close friend named Violet—adds a human face to the cruelty unfolding around them.

The chase intensifies as Devlin and Poppy flee through the fairgrounds, pursued by Mary Ann’s men. O’Brien is killed beneath a viewing stand during the pursuit, underscoring the cost of crossing Mary Ann. Devlin and Poppy find temporary refuge in a rural wheat field, and a dramatic sequence unfolds as they try to escape through the long stalks. A dangerous moment with a combine harvester forces Devlin’s team to intervene with a car, ram the gate, and smash the greenhouse on the farm, creating a perilous corridor toward the barn where the pursuit closes in.

Inside the barn, Devlin battles through Mary Ann’s guards to reach Poppy. The confrontation grows personal as he knocks Mary Ann down into a pig pen and exacts vengeance on Weenie—the man who dared push Mary Ann’s operations to new levels of depravity. Weenie dies in a grim moment when Devlin defeats him and ends his attempt to stab Devlin with a sausage, a stark image that crystallizes the film’s blend of brutality and dark humor. Even as Devlin stands over the injured Mary Ann, the choice to spare or kill remains unsettled, and he walks away, letting cruelty meet its inevitable end.

The story then pivots to a stark, morally charged finale. Devlin, accompanied by a thinner but still dangerous crew, returns to the Missouri orphanage where Poppy was raised. They demand the release of the other girls, and when the matron resists, Poppy asserts her agency with a decisive knock-out blow, a moment that signals both justice and retaliation. The plan is straightforward: go back to Chicago, where the web of money, power, and violence began, and reclaim what was stolen from the vulnerable.

In the final scenes, Devlin and Poppy step onto a riverbound path that carries them away from the immediate danger and toward a destination that promises a different kind of peace. Devlin’s assessment of Chicago—now controlled by those who prey on others—is firm but restrained, and when Poppy asks what Chicago is like, his blunt answer lands with a quiet certainty: it is “as peaceful as anyplace anywhere.” The closing image suggests a fragile sense of resolution, with Devlin and Poppy heading back toward the heart of the old city, armed with truth, resolve, and a plan to free the remaining captives.

Overall, the film unfolds as a gritty, unvarnished crime saga that threads together ritual violence, complex loyalties, and a relentless pursuit of justice that comes at a high personal cost. The performances—anchored by , as the hardened Devlin and Gene Hackman as the corrupt, calculating Mary Ann—hook the viewer in a world where every decision is a matter of life and death, and where redemption feels earned rather than promised.