The Mechanic is a 1972 American action thriller film directed by Michael Winner from a screenplay by Lewis John Carlino.

Arthur Bishop is a top contract killer, known as a "mechanic", who works exclusively for a secretive international criminal organization that has very strict rules.

His occupation affords him a lavish lifestyle - he regularly listens to classical music, has an art collection, and is a connoisseur of fine wines.

Bishop pays a call girl to have a simulated romantic social and sexual relationship, including her writing fake love letters to him.

As they're packing their luggage in their hotel room, Steve shares a celebratory bottle of wine with Bishop, having coated the latter's glass with brucine, a colorless and deadly alkaloid.

In February 1969, Carlino announced he had written two films that would be made by producer Martin Poll the following year: The Catalyst, about a wealthy man whose search for meaning leads him to start a revolution in Africa, and The Mechanic.

"[4] In April 1969, it was announced that Cliff Robertson would star with Ted Dubin to produce alongside Poll for Universal.

He and screenwriter Lewis John Carlino worked on the script for several weeks before producers switched studios and hired Michael Winner to direct.

Producers had difficulty securing financing and several actors, including George C. Scott, flatly refused to consider the script until the homosexuality was removed.

Carlino described The Mechanic as "one of the great disappointments of my life," continuing: "I wanted a commentary on the use of human relationships and sexual manipulation in the lives of two hired killers.

There was a fascinating edge to it, though, because toward the end the younger man began to fall in love, and this fought with his desire to beat the master and take his place as number one  ...

[9] In November 1971, it was announced Charles Bronson would star under the direction of Michael Winner for producers Chartoff and Winkler.

[10] Richard Dreyfuss was originally cast as Steve, but was replaced in early December 1971,[11] apparently due to Bronson's dislike of him.

The scenes were cut short in the final edit, because, according to associate producer Henry Gellis, their inclusion made the film seem like an installment in the James Bond series.

[13] The score and source music, by Jerry Fielding, were recorded at CTS (Cine-Tele Sound) Studios in London, England, between August 7 and 11, 1972.

Noting the "father son rivalry" between Arthur and Steve and picking up on the "latent homosexual bond" between the two, Canby concluded that the film was "non-stop, mostly irrelevant physical spectacle" and pondered what a different director might have done with the same material.

While finding the plot twists "neat", Ebert found that director Winner failed to squarely address the relationship between the leads in favor of too many boring action sequences.

[17] Gene Siskel of the Chicago Tribune gave the film only 1 star out of 4 and wrote, "The entirely unoriginal production moves at a numbing pace with Bronson mirroring the directorial lethargy with his silent, 'don't I have strong cheekbones' demeanor".

[18] Kevin Thomas of the Los Angeles Times praised the film as "A hard-edged, brutal yet absorbing contemporary gangster movie" with "top-notch" performances.

[20] Gary Arnold of The Washington Post wrote, "It's a predictable, expendable piece of formula moviemaking, and the men responsible for it seem considerably more proficient at manufacturing thrills than generating and sustaining dramatic interest".

[22] A novelization credited to screenwriter Lewis John Carlino was published by Signet Books to accompany the film's release.