actors, biography, crime drama, directors, Film Spotlight, Five Shots of..., History in Films, movies, oscars

Another Pair with Gene Hackman

This is the second installment of my winter project of investigating the filmography of a male film star I know too little about. According to Allen Hunter’s biography, Gene Hackman, he grew up in his grandmother’s house surrounded by the unremitting cornfields of Danville, Illinois. He dropped out of high school, joined the Marines on a whim, and served from 1946-51. Acting school followed at the Pasadena Playhouse and the cementation of friendships with peers Dustin Hoffman and Robert Duvall. You can read about their unique 50-year-old friendship in Vanity Fair HERE.

Bonnie and Clyde (1967) 

Warren Beatty produced the film and likened to the role of Clyde because he was a character who wanted to “be somebody’ in the uncooperative climate of the Depression. This motivation was the force behind Clyde; Bonnie coaxed that motivation. Clyde saved her from a boring life and she was willing to do anything for the thrills of their partnership. When her poem, “The Story of Bonnie and Clyde” was published, they had a national audience. Bonnie finally gets the passion she craved. The violence of the film pushed the envelope (a shot to the face of an apprehender smears blood on the getaway car) and the emergence of Faye Dunaway as the reckless Bonnie elevated the film to lofty heights. Dunaway reminded me of a young Bette Davis. The nuances, the body language, and her loveliness were exceptional. It’s one of the best performances I’ve seen by a female performer. But wait. What about Gene Hackman? As brother Buck to Clyde, he gave an enthusiastic, convincing performance as did the rest of the cast, but no one surpassed Faye Dunaway. Fifty years later, the film still stands.  4/5.5  

If you like crime history, here is information about the FBI case of Bonnie and Clyde.

What stood out:

1. Gene Wilder‘s bit-part facial expressions. “Step on it, Velma!”

2. Blanche (Estelle Parsons) screaming; a most annoying character and perfect antithesis to independent Bonnie. Parsons won the Oscar for her role. I love her final scene when the Sheriff coaxes information with false sympathy. She is blind and bandaged and clueless til the end. Awesome role.

3. The opening sequence with Faye Dunaway, bored, restless and naked. Bonnie and Clyde sizing each other up in a matter of minutes, each cool and confident.

4. The famous ending directed by Arthur Penn. I liked the hard cuts, the montage that revealed the final thoughts of Bonnie and Clyde, and the sequence of events to their end.

Scarecrow (1973) 

What is best about the script of these unlikely friends is the 180 degree flip-flopping of their characters. (Lion) Al Pacino and (Max) Gene Hackman are allowed the space to give full-bodied performances. While the story-line was dull at times during its first half, it more than made up for any lags by the last half. Lion’s phone call to his estranged wife Annie was heartbreaking, and the anticipation of Lion’s fall was painful. Max goes from an unlikable character to someone who has benefited from a sincere friendship. It has been compared to Of Mice and Men; if Steinbeck’s classic engages you, you would no doubt enjoy Scarecrow.  4.5/5. 

What stands out:

  1. Watching a young, kindhearted Pacino (instead of later scene-chewing roles) teach the irascible Max a better philosophy of life even though the script seemed heavy-handed at times.
  2. Watching Hackman’s Max change. Usually Hackman is hard and mean and stays that way. It was great to see such a fine transformation. I smiled broadly when I found out why he slept with the shoe under his mattress. When Lion asks him why he picked him to be his partner since he trusts no one, Max responds, “Because you gave me your last cigarette. And you made me laugh.” The chemistry between the two characters was real and showcased great acting .
  3. I loved that open scene with the stormy sky and gold wheat field. The across the highway exchange was wonderful.
1960s, 1970s, actors, crime drama, culture, directors, Film Spotlight, movies, Winter Project: Classic Male Actors

Winter Project: The Final Five of Steve McQueen

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Thanks to everyone for joining me while I explored the filmography of actor Steve McQueen. The 60s and 70s movie icon had a slew of great films to his credit. Since both parents had died at age fifty, with a sardonic sense of humor, he was sure he wouldn’t pass the half-century mark. His prediction came true. He died at 50 from Mesothelioma on November 7, 1980. Breathing the asbestos filaments located in several workplaces and in his racing helmets and suits, the industrial disease raced throughout his body in the final months of his life. He never thought he’d live long. That helped explain his drive and insatiable hunger for life. He negotiated and made millions per film including a percentage of the gross proceeds. He had full control of the directors, actors, and say of his films. Most know he was stubborn and egotistical, but his generosity and kindness extended in equal measure to his two children who loved him unconditionally and to friends with whom he had established long relationships.

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The Cincinnati Kid (1965) After Papillon, this would be runner up as my favorite Steve McQueen film.  Edward G. Robinson is Laney “The Man” who teaches “The Kid”(McQueen) a few lessons about life. In the game of 5 Card Stud, what are the odds two men are dealt a Straight Flush vs. a Full House? Read about THE LAST HAND here. Add Ann Margaret as the sexy temptress and Tuesday Weld as the good girl and stir in Karl Malden as Shooter, the puppet and chump into the mix. The music, the tension, and Steve convincing as “The Kid”, made it a thoroughly enjoyable film.  4.5/5

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The Thomas Crown Affair (1968). Faye Dunaway and Steve McQueen are sizzling hot (It’s rated PG) in this billionaire bank caper. The split screen 60s technique, the dune buggy ride on the beach, the fashions, and that famous chess game scene full of sexual innuendos–it’s the stuff that made an Austin Powers parody possible.  It was the first time McQueen broke away from his poor anti-hero to represent the high-class anti-hero. Alone on his own plateau, this film helped cement McQueen as an icon of alpha male coolness. 4/5

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The Getaway (1972). This Sam Peckinpah film flows with interesting cinematography like close-ups, the loud machines grinding in the prison interior, the chase scenes, and the interior shot of a car with BBQ ribs, food fight. While Ali McGraw‘s performance left me cold, Sally Struthers and Slim Pickens were the best characters of the movie. 4/5

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The Towering Inferno (1974). It was the highest-grossing disaster movies of the seventies. They came to see the cast: Steve McQueen, Paul Newman, Faye Dunaway, William Holden, Fred Astaire, Richard Chamberlain, Robert Vaughn, O.J. Simpson, Rober Wagner, Jennifer Jones, and Susan Blakely. The star power, the escape plans, the collapse of the skyscraper was engaging enough, but it can’t compete with The Poseidon Adventure (1972), the winner of the best disaster film of the decade. It took Steve fourteen years to beat out his blonde eyed rival, Paul Newman, for top-bill, but McQueen solved the problem of leading man by having his name listed first while Paul’s would be set slightly higher.  3/5

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Papillon (1973). Franklin J. Schaffner was known as an innovative television director/producer in the early years of T.V. by employing film techniques within the new medium of television. He was known in the film industry for popular films like Planet of the Apes (1968), and for Patton (1970). Schaffner’s best contribution and my top prison film is the one and only classic, Papillon (1973). Listen to the Oscar-nominated score by Jerry Goldsmith. Lovely.  

Almost all great films begin with great novels. Papillon (1969) was written as an autobiographical account by Henri Charrière. In 1931, he was sentenced in Paris for a crime he did not commit and exiled to a penal colony in French Guiana. Over the course of many years, Papillon, named for the butterfly tattooed on his chest, attempted to escape. Eventually, he was sent to the inescapable Devil’s Island surrounded by hungry piranhas, sharks, and crocodiles.  Henri Charrière’s story is an audacious human account demonstrating what conviction and willpower can do. His book became an instant success.

Steve McQueen gives his best performance of his career as Henri. His relationship with the inmate, Dega, played by Dustin Hoffman, is dynamic and heartfelt. It’s the cinematography that wows me. The use of black and white or the lack of sound show the solitary confinement of Papillon’s situation perfectly. When Papillon hallucinates, his dreams are horrific and the camera angles portray a true nightmare.

I find it amazing this film was not nominated for anything at the Oscars in 1974 except for Best Score which did not win. What were the contenders that year? The StingSerpico, and The Exorcist.  Yes, all great films, but, I still think Papillon is just as good. Certainly, Hoffman and McQueen deserved recognition for their roles. What an underrated film.5.5

“Blame is for God and small children.” – Dega