Butch Cassidy and the Sundance Kid

Tags

1960's, Buddy Film, Butch Cassidy and the Sundance Kid, George Roy Hill, Katharine Ross, Paul Newman, Robert Redford, Western

Film Title

Butch Cassidy and the Sundance Kid

Director

George Roy Hill

Starring

• Paul Newman as Butch Cassidy
• Robert Redford as the Sundance Kid
• Katharine Ross as Etta Place

Exciting, engaging and entertaining are the three words that spring to mind when I think of Butch Cassidy and the Sundance Kid. Featuring two affable main characters and loosely based on true events, it is damn near impossible to not be swept up in the funny and irreverent western.

It is the time of the Wild West and outlaws Butch Cassidy and the Sundance Kid belong to the notorious Hole in the Wall Gang. The gang go about robbing banks, thanks to the charisma of Butch and the precise aim with a gun from Sundance when needed. Everything is going pretty amazing for them thanks to the combined skill set of both men in their line of work. Yet the law soon catches up with both of them after a spectacularly explosive hold up and a posse is dispatched to find them, causing our charismatic twosome to flee. Wherever the duo seem to run too, whether it be through the desert, canyons or over rivers, the seemingly tireless posse continues to be hot on their trail. Finally, the outlaws, along with Sundance’s schoolteacher lover Etta Place, flee to Bolivia in search of respite from being chased and of course new opportunities of making money. They go about conducting more successful robberies, but the idyll is shattered when it appears that justice is not going to let go of either of them.

It is obvious almost from the start of Butch Cassidy and the Sundance Kid that director George Roy Hill is having the time of his life displaying a confidence and intrinsic cheekiness in his mounting of this engrossing film. He utilizes experimental touches that are very jaunty and set the film’s tone as firmly tongue in cheek, in stark contrast to a lot of westerns that are very bloody and brutal. Take the opening for example; bathed in sepia, we are introduced to our main characters by way of a silent movie style montage that is bracingly amusing and informs you of all you need to know about the titular outlaws. A crackerjack script(that garnered an Oscar win) has a laugh a minute, particularly in the exchanges between Butch and Sundance that crackle with humour as they get themselves into precarious situations constantly. There are just so many memorable moments that abound in this film that it’s difficult to choose only a few to talk about, but I’ll give it a go. The aforementioned opening is sublime as well as a newspaper and photograph clipping detail of Butch, Sundance and Etta’s interlude throughout various cities. The jump off a gorge, despite the fact Sundance can’t swim is a stand out moment and of course Butch riding without a care in the world on a bicycle with Etta to the strains of ‘Raindrops Keep Falling On My Head’. And who can forget that final freeze frame that immortalizes both characters? Credit must be given highly for introducing us to two of the most charismatic characters to grace the screen. Criminals they may be, but boy are they an affable and amusing duo together on their journey of outrunning the encroaching law. While it has a lot of humour in it, an impending tragedy percolates away in there, bringing with it notes of bittersweetness as death lurks for the outlaws at almost every stop. Butch Cassidy and the Sundance Kid is as much a buddy movie as it is a western, as while it adheres to the conventions of a western, the focus is squarely on the main characters more than many westerns and it has a lot more laughs in it, followed by approaching sadness. Beautiful scenery is bountiful and you can’t help but marvel at the various shots of mountains, rivers and hills that are to be found here. There are minor things that time hasn’t been kind to, but I could count these on one hand which shows how it still makes a damn fine impact and experience for any viewer. A nice and skittish score is the ideal representation of how spirited this film is, while not forgetting the eventual feeling of tragedy that will befall our amusing duo.

A simply sublime cast is on hand to give this western a golden boost, in particular the perfect pairing of Paul Newman and Robert Redford as the somewhat opposite desperadoes whose bond is nonetheless strong. Butch is the talkative one with the big ideas, while Sundance is the laconic and more grave individual. Their differences and similarities fit together perfectly, and have us rooting for this dynamic duo. Paul Newman is bright-eyed and full of roguish adventure as Butch, who always has a scheme or plan even in the most dire circumstances. Robert Redford makes Sundance a quiet and collected man with a deadly shot, who is the more serious-minded and cool half of the team. It is impossible to talk about this film without mentioning how Paul Newman and Robert Redford share an unbeatable chemistry, that makes the quips of both characters register with conviction and easy humour. The film would simply have not been the same without both of these actors complimenting the other in an uncannily excellent and amiable fashion. Katharine Ross plays the other important role of Etta, the schoolteacher in love with Sundance along for the ride. Ross is pleasing and softly spoken, yet very assertive when it is called for. Her role in the story is the less of the three as Butch and Sundance take up the majority, but Ross ensures that she holds her own in the part.

An enjoyable experience, the evergreen delights of Butch Cassidy and the Sundance Kid remain for all to view in a film coloured with laughs and eventual tragedy.

An Unfinished Life

Tags

2000's, An Unfinished Life, Becca Gardner, Damian Lewis, Drama, Jennifer Lopez, Josh Lucas, Lasse Hallstrom, Morgan Freeman, Robert Redford

Film Title

An Unfinished Life

Director

Lasse Hallstrom

Starring

• Robert Redford as Einar Gilkyson
• Morgan Freeman as Mitch Bradley
• Jennifer Lopez as Jean Gilkyson
• Josh Lucas as Sheriff Crane Curtis
• Becca Gardner as Griff Gilkyson
• Damian Lewis as Gary

As well trodden and predictable the story may become, An Unfinished Life gains points and clarity from the uniformly excellent cast and depth from direction that give it something extra. This movie was quickly dismissed upon release, but although more than a little formulaic, it is worth a watch for emotion and heart.

Einar Gilkyson is a Wyoming rancher whose business has gone downhill ever since he lost his son in a car accident and he ended up hitting the bottle. He still has some work to do, but these experiences have made him shut off and become bitter. Living with Einar is his best friend and former rancher Mitch, who a year prior was mauled by a bear and has still not fully recovered from his deep wounds that have left him with difficulty walking. Einar takes care of Mitch, yet when it comes to everything else he is gruff and distant. The two live their lives on the ranch with differing perspectives; Einar is angry at the death of his son and has never really dealt with it properly, while Mitch is genial and with regards to his encounter with the bear has moved on and is trying to live what is left of his life happy. Things change when Einar’s daughter in law Jean arrives with her daughter Griff, that Einar had no idea existed. There is bad blood between Einar and Jean as Einar blames Jean for surviving the accident that claimed his son, whilst Jean has tried to remain strong but has now fled from her abusive latest boyfriend Gary. Needing a place to stay, Einar reluctantly allows them to live with him. Although awkward at first, through the kindness of Mitch towards Griff, Jean’s numerous tries to reconcile and the little Griff’s attempts to break through to Einar, wounds that have festered begin to wane between Jean and Einar as they finally have to confront their fears and grief. Einar soon begins to open up more, but danger could very well be on the horizon with the bear that mauled Mitch back and the psychopathic Gary looking for Jean.

Now while some of his directorial flourishes go a bit mawkish, Lasse Hallstrom at least invests An Unfinished Life with a moving centre, offset by the occasional bit of humour as the souls of the character slowly heal. I liked the sense of immediacy and closeness that Hallstrom gave the film and the brisk pace he employed, that let events unfold with a quickness that never gets rushed. It must be said that a lot of the story is nothing particular groundbreaking in terms of drama and more than a little it can get a bit overly sentimental and the script gets clunky. Yet somehow the film works and while not particularly original, it tells the story in an efficient way that doesn’t squander any of the emotions within it. This story is of healing and learning to let go and its observations of these key themes is well orchestrated and directed. There are some lovely bits of scenery to be found too, with the trees and winding roads of rural Wyoming being lushly photographed and lensed with skilled assurance. A country influenced score charts the gradual emergence of Einar coming into a sense of acceptance and brings a wealth of emotion to An Unfinished Life.

A talented cast brings a poignant sense of emotion, soaring above the sometimes formulaic story. Robert Redford reveals a gruff and cantankerous exterior for Einar as someone who doesn’t want to open up but really should. There’s a sadness to Redford’s delivery that is clouded with anger and the actor really shows off his talent here as Einar is forced to finally comes to terms with the events that he couldn’t deal with before. Morgan Freeman is dignity and quiet strength personified playing the injured Mitch, who refuses to let pain get in his way of being positive and supporting Einar. With gravitas and an amiable smile, Freeman is reliably brilliant in this touching role. Jennifer Lopez is natural and stoic as Jean, who is both afraid and determined to remain strong and find some common ground with Einar. It is her role that forces the shift from Einar’s grief to recovery and Lopez plays it very well. Josh Lucas is the weakest of the cast as he is saddled with the rather uninteresting role of the sheriff who takes a liking to Jean. The role is one that doesn’t give him a lot to work with and it suffers from a lack of scope. The young Becca Gardner has the right amounts of charm and resonance for the part of Griff, who wears down her grandfather’s tough shell and lets him live again. And exuding menace and relish for possession is Damian Lewis, as the controlling and abusive ex boyfriend of Jean’s that can’t let her go.

It stumbles into schmaltz at times and is never going to be the most inventive film put out there, but with what it has, An Unfinished Life is a moving story of learning to let bygones be bygones and begin to live once more.

Barefoot in the Park

Tags

1960's, Barefoot in the Park, Charles Boyer, Comedy, Gene Saks, Jane Fonda, Mildred Natwick, Robert Redford

Film Title

Barefoot in the Park

Director

Gene Saks

Starring

• Robert Redford as Paul Bratter
• Jane Fonda as Corie Bratter
• Charles Boyer as Victor Velasco
• Mildred Natwick as Ethel Banks

A witty and breezy comedy about a newly married couple who are complete opposites, Barefoot in the Park bristles with humour and charm as we watch a picture of domesticated bliss gone amusingly awry. Sure, some of it is quite dated when viewed now, but the chemistry between Robert Redford and Jane Fonda combines with a laugh-filled script makes it enjoyable.

Proper Paul and fun-loving Corie Bratter have recently married and they move into an apartment in Greenwich Village. Yet the apartment is far from a dream home, mainly because of the five stories of stairs that need to be climbed to reach it. It is here that we see how different the newlyweds are in terms of their personalities and ideas. On one hand, Paul is an uptight and straight-laced young lawyer, while Corie is an effervescent free spirit who is willing to try anything. The apartment has a hole in the ceiling which renders the place freezing, crammed space and their aging womanizing neighbour Victor Velasco must come through their apartment to reach his one on the floor above. Paul hates all these things about their new home, but the adventurous Corie sees them as quaint and very nice. Already a wedge has been drove between them as they begin to see that wedded life can be complicated indeed. To add to this, Corie’s sarcastic mother Ethel comes by to view the place. The romantic Corie tries to set her mother up with Velasco as she feels she is lonely. And after a wild night out had by all of them, it is time for Paul and Corie to see if their marriage is going to last or not. The newlyweds begin to see that marriage is not a bed of roses and that they are particularly different which does lead to arguments and maybe a possible divorce. Watch as personalities clash and misunderstandings between the mismatched couple cause fireworks and plenty of laughs.

Director Gene Saks gives Barefoot in the Park that breezy quality that suits the brisk pace and various antics that occur in the piece. He is given extra help by Neil Simon’s script from his own stage play that just cracks with humour and wit as Paul and Corie enter into marriage and witness the fact that their personalities are somewhat incompatible. Comic interludes are ever-present in this film and while some of it may be a trifle dated, it still doesn’t fail to raise a smile or a laugh. There is kookiness to the proceedings that gives the film a verve when the plot meanders on occasion. A lively, romantic score tinged with a good old jaunty rhythm is the perfect musical accompaniment to this funny tale of marital disharmony.

Barefoot in the Park gains an added spark from a game cast who perform excellently with the confines of comedy. Robert Redford is delightfully uptight as the respectable Paul, who doesn’t seem to know how to live a little and let his hair down. Redford brings a whole lot of charisma and some priceless facial expressions to the film that are bound to conjure laughs. Jane Fonda is his comedic foil in the part of Corie, who lives for the moment and is kittenish to say the least. Fonda is a natural at playing this, and giving it a sexy edge. The chemistry between the two is believable, abrasive and caustic, which only adds to the many incidents that befall them. The colourful supporting roles are filled with style and considerable talent by Charles Boyer as the old but still hungry for life fox and Mildred Natwick as the sarcastic and self-doubting mother.

Scintillating chemistry, humour and talent make Barefoot in the Park a guarantee to put a smile on your face and a breezy way to spend an hour or two.

Sneakers

Tags

1990's, Ben Kingsley, Caper, Crime, Dan Aykroyd, David Strathairn, Mary McDonnell, Phil Alden Robinson, River Phoenix, Robert Redford, Sidney Poitier, Sneakers

Film Title

Sneakers

Director

Phil Alden Robinson

Starring

• Robert Redford as Martin Bishop
• Dan Aykroyd as Mother
• Sidney Poitier as Donald Crease
• David Strathairn as Whistler
• Mary McDonnell as Liz
• River Phoenix as Carl Arbogast
• Ben Kingsley as Cosmo

An enjoyable and light-hearted caper movie, Sneakers boasts an all-star cast and a sparkling script as well as ratcheting up the tension at various times.

Martin Bishop runs a San Francisco team known collectively as ‘Sneakers’, their job is to break into security systems to check the effectiveness of them. The rag-tag team comprises of former CIA operative Donald Crease, Mother, an electronics technician and conspiracy theorist, Whistler, a blind man with exceptional hearing and enthusiastic whizz kid Carl Arbogast. Everything is going fine until the NSA contacts Martin. They have information regarding his past as a student radical that could have him imprisoned. The case will be dropped if Martin and his team can recover a black box from a prominent mathematician. Although reluctant to help, Martin sees that he has no choice if he wants to avoid his past coming back to bite him. Enlisting the help of his team and well as his old flame Liz, they manage to track down the box with their combination of technical skill and smarts. This is when the twists arrive and the mathematician is murdered. It seems this black box is a codebreaker that can used to break into even the most secure building ever. Martin and the rest of the team must decide what to do before it falls into the wrong hands and as they soon become embroiled in a web of crime and espionage with a face from Martin’s past coming back to haunt him.

A script brimming with comic interplay gives Sneakers a humorous edge and allows us to root for the characters and believe the long-standing camaraderie that they have with one another.Phil Alden Robinson directs with brisk assurance and verve, giving us the many dangerous incidents that the team find themselves in a warmth yet a deep seriousness and suspense. The various technological aspects of the case are presented in striking visuals, a standout scene being the team cracking an important anagram using the pieces from a Scrabble game and Whistler’s extraordinary hearing and computer skills. The scene features initially slow cuts between the two factions of the team that quicken in time with the score as the code is eventually cracked. This gives the film an enjoyable factor and makes it a cracking crime caper peppered with humour and an abundance of twists. Tension is also high in the scenes of the team sneaking into a secure building in order to retrieve the stolen box, and trying to avoid the hi-tech sensors employed to ensure no one can enter undetected. Some of the technical jargon may become confusing and the narrative may lull in various places, but for most of the duration Sneakers is a sparkling and fun crime caper. James Horner provides the lively score of trickling piano and unusual percussion to give the feelings of danger and a race against time for team.

Heading the all-star cast is Robert Redford who sends himself up a little with his mix of charm and wit in the role of Martin, the leader of the ‘Sneakers’. Dan Aykroyd is a hoot as the conspiracy theorist who won’t take no for an answer. Sidney Poitier plays the role of the former CIA operative with ease and eye-rolling humour as he is the one who often disagrees with rash decisions by younger members of the team but finds himself going along with it, albeit under duress. David Strathairn steals all the scenes he is in as Whistler, the blind man with amazing hearing whose skills are invaluable to the gang in their times of need. As the main female in the movie, Mary McDonnell shows that it’s not just the men who can have fun with her sharp performance as Liz, the former girlfriend of Martin whose smarts and good looks come in very handy with this most complex case. In one of his last roles before his untimely death, River Phoenix gives a nervous exuberance to the role of computer whizz kid Carl, the youngest member of the team who is constantly on the lookout for an attractive woman in his life.  The weak link in the chain of excellent performances is surprisingly Ben Kingsley as a face from Martin’s past with villainous designs. We all know that Kingsley can play the villain in his sleep, but he isn’t given enough screen time to make him a compelling adversary for Martin and his team.

Bristling with light-hearted charm, excellent performances and caper shenanigans, Sneakers is if nothing else an enjoyable movie with style and humour.