Buddy films almost always have two clashing personalities at the core. Butch and Sundance, Woody and Buzz, Thunderbolt and Lightfoot, Thelma and Louise — more often than not it’s the Hardass and the Free Spirit, or the Mentor and the Newcomer, or the Brainiac and the Simpleton. But as far as the casting goes you can usually say cool: those two guys will be great together. Newman and Redford is a more obvious pairing than Hanks and Allen, but the latter’s not strange enough to raise any eyebrows.
But Jackie Gleason and Steve McQueen? That’s not an immediate sell as a buddy-comedy duo, is it? Each of them is legendary, but in a different fashion. Gleason is a comedic entertainer at heart, delivering highly effective drama in smaller portions in The Hustler and a handful of other notables; McQueen, meanwhile, would build his career on strong silent types even in his lesser-known dramas, from The Sand Pebbles to The Getaway. He would rarely do comedy, and Gleason would rarely share the limelight in any of his comedic films (not intentionally, of course; he just stole the show pretty much every time). So perhaps a Gleason/McQueen team-up isn’t inherently strange until you consider that a) it’s a comedy with the duo sharing top billing, b) it’s fairly dramatic at times in a satirical Catch-22 sort of way (more on that in a minute), and c) McQueen is the loopy goofball and Gleason is the knowing-smile know-it-all. That said, the most important consideration is d) Soldier in the Rain is highly underrated.
Continue reading Soldier in the Rain (1963)
It’s tough to find defenders of The Killer Elite. Watching the film without any knowledge of the chaotic production or of director Sam Peckinpah’s personal, financial and artistic woes at the time probably makes for a bland and unexciting viewing experience; sadly, a little background on Peckinpah effectively makes it even worse, as it’s hard to watch The Killer Elite without noticing that the gleefully indulgent heart characteristic of his best films seems to have vanished.
The set-up ain’t bad, although that hardly ever matters in the hands of a capable director. James Caan and Robert Duvall star as CIA-contracted assassins and friends who have worked together for years. Duvall’s George betrays Caan’s Mike, shooting him in the elbow and knee and leaving him badly crippled. The rest of the film follows Mike as he recuperates, retakes his post at the shady government operations agency, and ultimately seeks revenge on his old pal George.
There are plenty of rumors associated with The Killer Elite that may or may not be true. First is that Peckinpah took the project specifically as an attempt to recreate the financial success he had with the Steve McQueen-starrer The Getaway, which marked the last financially successful movie Peckinpah would direct. Bring Me the Head of Alfredo Garcia was both more in line with Peckinpah’s Western sensibilities and more of a box office flop, and so it is admittedly easy in that regard to draw parallels between The Getaway and The Killer Elite. The fact that the project may have been more associated with money than with any real passion pretty much sets the thing up for failure out of the gate.
Continue reading The Killer Elite (1975)
Continuing our mini-retrospective on actor and director Richard Attenborough, one notices that Netflix only musters seven films with his name in the credits – three of which he directed, three of which he acted in, and one of which is a documentary. Shouldn’t there be more of a selection for a guy who acted in nearly 80 different projects and directed twelve feature films, one of which won a Best Picture Oscar? Shouldn’t he have at least half of the Netflix catalogue awarded to William Shatner? Anyway.
Robert Wise’s The Sand Pebbles is an interesting one to be included in that hors d’oeuvre-sized offering, and it’s a film in which Attenborough shines. Steve McQueen takes the spotlight, as Steve McQueen is wont to do from time to time, but Attenborough’s character serves as a perfect compliment to the protagonist. McQueen’s Jake Holman and Attenborough’s Frenchy Burgoyne are aboard a U.S. gunboat (The San Pablo, though pronounced by some as Sand Pebbles) in the heart of China in 1926. It’s a time of revolution and both men get wrapped up in local and national affairs during their long tour.
Attenborough has said Pebbles was the longest shoot he ever worked on, including the epic Gandhi, and that the cast and crew spent 8 months in Taipei filming. Wise spent a full four years bringing the project to fruition, and the time spent and the care taken is evident in the epic sweep of the final product.
The film is sluggishly slow in most places. McQueen’s Jake cultivates a relationship with the engine of the ship (in the picture above he’s just said “Hello, Engine. I’m Jake Holman”) while Attenborough’s Frenchy cultivates a relationship with a local Chinese woman. The characters couldn’t be more unlike each other, but they build a mutual respect and even loyalty as their tour progresses. Also, Attenborough sports one hell of a handlebar mustache.
The Sand Pebbles takes its time, but is worth watching to see McQueen and Attenborough in two of their most distinctive roles.