Showing posts with label Robert Duvall. Show all posts
Showing posts with label Robert Duvall. Show all posts

Sunday, 8 May 2011

True Grit (1969)

The strangest trio ever to track a killer.

A very enjoyable character-based western, directed by Henry Hathaway, and notable for the remarkable strength of will and general audaciousness of its female protagonist, teenager Mattie Ross (Kim Darby), who propels herself into a brutal male-dominated world of violence and death. As in the Coen brothers' 2010 remake, Mattie embarks on a quest to bring her father's murderer to justice with the help of two very different law enforcers, a grizzled hard-drinking US Marshall, Rooster Cogburn (John Wayne), and a charismatic young Texas ranger, La Boeuf (Glen Campbell).

This 1969 film has more back story than the Coen brothers' remake, introducing Mattie and her father, Frank Ross (John Pickard), at home, and showing the context of the murder and the murder itself. From then on the plot follows fairly similar paths, driven by Mattie and her mission. Finding that the local sheriff has no jurisdiction in the Indian Territory to which the murderer, Tom Chaney (Jeff Corey), has fled, Mattie, on her own initiative, hires the meanest licensed federal law officer she can find, Cogburn. La Boeuf also turns out also to be in pursuit of Chaney, for an earlier crime, and in fairly short order, Mattie, Cogburn and La Boeuf enter Indian Territory all bent on the same goal.

As in the Coen brothers' version, the main delight of the film is Mattie Ross herself: the way she interacts with the range of people she encounters and the character of her responses to events. She is an amazing person, only 14 years old but clever and audacious, whose personal courage and readiness to engage in violent action, as the story develops, is tested to the extreme. Perhaps in those days (1880 according to Wikipedia, not that long ago really, around the time my father's grandfather was running around in short trousers), children were less sheltered. Near the start of the film, the filmmakers deliberately show how public executions were treated by many townspeople as a fun day out, with snacks for sale, and small children apparently free to mingle with the watching crowds, and even, from their playground swings opposite the town square, getting the best views.

Hathaway permits his young protagonist more emotion than the Coen brothers do. He shows, from the outset, how Mattie is taken with La Boeuf and briefly shows her crying (privately) over her late father's possessions. Possibly related to this, but less satisfactorily, is the use of the musical score, which to modern ears seems rather unsubtle at times.

Another delight, of course, is the debauched but doughty character of Cogburn and the great performance of Wayne (despite being 20 years or so older than the character in the book, he received an Academy Award for Best Actor), contrasting strongly with the characters of the strictly brought up Mattie and straight-arrow La Boeuf. According to Wikipedia, Wayne did his own stunts, including the final jump.

There's so much fun to be had, especially, in the first reel, in Mattie's interactions with other characters. When she comes into conflict with La Boeuf, their brief flirting turns to verbal sparring, and she stands up to him just fine, as she does with everyone else. Her dealings with the horse dealer, Col. G. Stonehill (an outstanding performance by Strother Martin), show her to be a wonderfully feisty resourceful person.

Speaking of supporting characters, others of note include Robert Duvall and Dennis Hopper, who play their roles relatively sympathetically, showing that criminals are more than simple monsters.

My only criticism is that Glen Campbell, hand-picked by Wayne, according to Wikipedia, seemed too old for the role (he was 33), or not quite vulnerable and good-looking enough for Mattie to take a shine to him, or maybe just not an expressive enough actor. I never felt there was any chemistry between the two of them.

Sources:


  • Director: Henry Hathaway
  • Writers: Marguerite Roberts (screenplay), Charles Portis (novel)
  • Starring: John Wayne, Kim Darby, Glen Campbell, Robert Duvall, Jeff Corey, Dennis Hopper, Strother Martin, John Fiedler

Posted using Blogo from my MacBook Pro

Amendments: corrected some links. Added ranking image.



Saturday, 19 February 2011

Crazy Heart (2009)

The harder the life, the sweeter the song.

Unfortunately, as with so many DVDs watched at home, under less than ideal conditions, I didn't see this all at once, but saw the last 15 minutes some days later. It wasn't easy to find the right occasion to watch the last part of the film, and now, sadly, I can't remember much of what I thought and felt about the film.

The story is very simple, and is told in a straightforward fashion. An aging country singer/songwriter with a failing career and a drinking problem meets a woman who he really likes. How will it all turn out? Can a person like him find happiness?

Bridges, of course, is very good, though so method (or mumble-core in modern vernacular) that it is sometimes difficult to make out what he is saying, at least for my poor ears, and I'll admit after a while I resorted to subtitles. (Apparently in True Grit, he's even more incomprehensible. Don't suppose they'll let me run subtitles at the cinema!)

Gyllenhaal too is fine, but at the risk of being ungallant, I don't really understand why she is chosen for lead romantic roles. I can't understand her appeal. Farrell is good as the face of new country.

I read on Wikipedia that The New York Times said the novel, written by Thomas Cobb, "also functions as a shrewd and funny running critique of contemporary country music." Sounds great. This film doesn't really achieve that, to my mind, although it does indicate that if you live the kind of hard-drinking life rhapsodised in many country songs, you'll be unsuited for a career in country music.

The story line with the Gyllenhaal's son is interesting and well done.

I remember thinking the country music was pretty good, and that Jeff Bridges sang well (bought a couple of the songs off the soundtrack album from iTunes). Made me wonder about other similar singing actors, like Joachim Phoenix in Walk the Line, the Johnny Cash story, Kris Kristofferson in A Star Is Born, Bob Dylan in Pat Garrett and Billy the Kid, and in the shower I've been singing Lee Marvin's Wandrin' Star (which I really like - unlike many, apparently) from Paint Your Wagon, while wondering about Clint Eastwood's A side song (was it Talk to the Trees?) and thinking I should check out other stuff by him.

Clint Eastwood has a pretty good voice, and composed the music for a number of his films, if I remember right. So why hasn't he been praised for doing the whole shebang - the way Chaplin was? Could it be because country music is considered too low-brow?

Posted using Blogo from my MacBook Pro

Amendments: Added genre tag "romance"; deleted a reference to a family member who objected to having their opinions aired in public. Removed link to Wikipedia-sourced image. Added ranking image.



Saturday, 5 February 2011

The Road (2009)

In a moment the world changed forever

It's a hard movie to watch, unrelenting: dark, dirty, full of violence, pain and despair. Apart from the full-colour flashbacks, the palette is reduced to muted dark colours, greys, browns, blues, as nuclear winter - as it seems, though never specified - takes its toll. I wept at the end. Don't know if I'd want to watch it again anytime soon.

The story is harsh, with humans pitted against their own loss of humanity and dropping of all moral behaviour in the face of starvation, with other people resorting to extremes in the their need for food. The father, Viggo Mortgenson, fights to remain "one of the good guys" in the eyes of his son. They are on a quest to the coast, but it becomes clear that the quest may have an ulterior purpose. The question underlying the protagonists' quest is whether there is really the possibility of a safe haven anywhere on earth. If not, what should a good man do? What should a good father do?

The performances by Mortgensen and the boy (Smit-McPhee) are brilliant, and supporting character actors met along the way are also excellent.

Amendments: Added writer tag: "Joe Penhall"; actor tags: "Kodi Smit-McPhee, Robert Duvall, Charlize Theron, Guy Pearce". Removed link to Wikipedia-sourced image. Added ranking image.