Category Archives: Director Series: Michael Cimino

The Deer Hunter (1978)

Bob De Niro always gets invited to the best weddings. Alongside all of the countless things young brides concern themselves with in the months leading up to their marriage — what if it rains? Can Trudy and Greta get along if we sit them together? Chocolate or vanilla? — there’s incredible solace to be had in the fact that De Niro will be there, in attendance and in approval. The guy clearly loves weddings. One of his first starring roles was in Brian De Palma’s The Wedding Party and one of his most recent was The Big Wedding, followed by the pre-wedding bachelor party shenanigans of Last Vegas; jury’s out on whether those movies are any good or not (wait — jury’s back — they’re not) but still, the weddings in those movies rock. Come on: Robin Williams is the presiding priest in The Big Wedding. This could be an all-divas-on-deck Kardashian wedding or some other unfathomably incestuous socialite caucus and you’d still attend if Robin Williams was the priest. So too would De Niro, apparently.

One of the better ones is the wedding from Goodfellas, in which the goodwill wishes come in a drunken torrent and the prerequisite for inclusion on the guestlist is being named Peter, Paul, or Marie. Just look at Henry and Karen — they’re perfect together. De Niro’s here, he’s having a pretty good time. But there’s something else on his mind, maybe, like whether the salami on that antipasto platter is fresh or whether he should just go ahead and whack Morrie Kessler already. Remember how he cut loose at Steven and Angela’s wedding down in Pennsylvania? That was a blast! He almost fought that Green Beret at the bar. Then he took his clothes off and ran down the street! Really, when we all invite De Niro to our weddings, the Hammered Brawling Run-Naked-Through-the-Streets De Niro is the one we want to RSVP.

Continue reading The Deer Hunter (1978)

Advertisements

Thunderbolt and Lightfoot (1974)

Progress — that’s what Thunderbolt and Lightfoot is about. The buddy dramedy is about more than that, of course, from women-chasing to bank-robbing to cross-dressing. Five years after Butch Cassidy and the Sundance Kid, Clint Eastwood’s stoic Thunderbolt and Jeff Bridges’ anything-but-stoic Lightfoot came closer to capturing the same verve and tragedy of American rebelliousness than most films in the ensuing forty years. It’s part road flick, part heist flick, part character study. In the simplest sense Thunderbolt and Lightfoot is a drive-in movie, complete with laughs and adventure and car chases and a few explosions for good measure; in a more complex light Michael Cimino’s directorial debut yearns for the American Dream, for satisfaction greater than that offered by everyday life, for an accomplishment, for progress.

The comparison with George Roy Hill’s Butch Cassidy isn’t borne entirely of the fact that the protagonists are a pair of BFF criminals, and Lightfoot even takes direct issue with that label — “criminals” — before the final credits roll. Butch and Sundance are battling against the death of the West they love, the West in which they thrive. Bigger guns, bigger armies, bigger bank vaults — the world’s changing whether they like it or not. Still, it’s their own perception of the world that really matters, especially in Butch’s case. “I’ve got vision,” he tells the Kid, “and the rest of the world needs bifocals.”

Continue reading Thunderbolt and Lightfoot (1974)