2021 Blind Spot Series: The Great Escape

 

Based on the non-fiction novel by Paul Brickhill, The Great Escape is the story of a legendary prison break during World War II at a Nazi prison camp where a group of different soldiers concoct a break at a high-security prison. Directed by John Sturges and screenplay by W.R. Burnett and James Clavell, the film a dramatic version of the real life prison break at Stalag Luft III where a small number of men do whatever they can to break out of this hellish prison camp. Starring Steve McQueen, James Garner, Richard Attenborough, James Coburn, Charles Bronson, James Donald, Donald Pleasence, and Hannes Messemer. The Great Escape is a riveting and adventurous film from John Sturges.

It is late 1942 as a large number of POWs are sent to the high security Stalag Luft III prison camp as a number of them lead by a mixture of British, America, Polish, and Australian soldiers/officers where that small number concoct an elaborate prison break. It’s a film with a simple premise yet it is more about a group of men trying to understand their environment and how to get out of the prison as well as get out of Germany. The film’s screenplay follows a simple narrative structure as it’s more about the people at the camp and how they meticulously try to get out as well as figure out what is outside of the camp. Notably as they try to do everything secretly under the watchful eye of the prison camp’s commandant Oberst von Luger (Hannes Messemer) who is trying to ensure that nothing goes wrong and the prisoners are treated humanely. Still, he has to deal with the British officer Roger Bartlett aka Big X (Richard Attenborough) who harbors a lot of disdain for the Nazis following his time with the Gestapo as he’s someone who knows about prison breaks as he confides in his superior Captain Ramsey (James Donald) about the plan who chooses to mediate between the prisoners and Kommadant von Luger.

Two of the American prisoners in Flight Lieutenant Bob Hendley aka the Scrounger (James Garner) and Captain Virgil Hilts aka the Cooler King (Steve McQueen) try to concoct their own plans yet they would eventually work with the other prisoners as the latter often breaks out only to come back and put in the isolation confinement. The former doesn’t just try to charm a guard in Werner (Robert Graf) but also befriends Flight Lieutenant Colin Blythe aka the Forger (Donald Pleasance) as the latter starts to go blind making Hendley protective of him. Also part of the team include the Polish digger/tunnel maker Danny Welinski aka the Tunnel King (Charles Bronson), his friend Willie Dickes (John Leyton), and the Australian Sedgwick aka the Manufacturer (James Coburn) as they all meticulously plan to build a tunnel system while also trying to find ways to keep it a secret. There are also these situations that Hilts had observed during his own brief escapes as it also concerns locations, blind spots, and other areas that the prisoners have to deal with.

John Sturges’ direction is definitely engaging for the way he creates the atmosphere of the film but also finds an air of hope during a moment of repression and frustration. Shot on location in areas near and around Munich including the Bavarian region in then-West Germany, the film uses the prison location as a character as it is surrounded by forest where there’s Nazis patrolling in areas outside of the prison as it would add to the suspense during its third act. Much of the film’s first and second takes place in the prison camp where it is about the location and where a few blind spots are and where the coolers are placed for the prisoners who overstep their bounds and are sent to the isolation centers. While Sturges uses some wide shots to get a scope of the locations as well as these unique dolly-tracking shots to get a look into the length of the tunnels. Sturges also maintains that air of claustrophobia in the medium shots and close-ups for some of the tunnels as it plays into the struggles that Welinski endures as it pertains into his own secret despite being a great creator of tunnels.

Sturges also plays up the air of suspense as it relates to these prisoners dealing with the idea that they might be caught as it includes a moment where all of the prisoners are having a drink of moonshine some of the prisoners created where one of the planned tunnels is discovered. It would add to the drama as the scene where a small number of prisoners make their escape through the tunnels is an intense moment filled with dread and uncertainty. Yet, it’s outside of the camps that are much more dangerous where no one has to make a noise or be caught by a light. It is a gripping sequence in the film that is followed more by a chilling aftermath once some of these men are out of the camp as they have to watch where they’re going and such. Getting out of the prison is easy in comparison to getting out of Nazi Germany as there are some thrilling and exciting moments including a scene of Hilts escaping on a motorcycle. While its conclusion might seem bleak, there is something hopeful about it considering the work that these men did to break out of prison as it gave them a sense of urgency and a need to be alive as it adds to the human spirit. Overall, Sturges crafts an evocative and exhilarating film about the real-life POW camp escape and the details of the men who planned the escape.

Cinematographer Daniel L. Fapp does brilliant work with the film’s cinematography with its emphasis on dream-like natural lighting for some of the daytime scenes set in the morning as well as its approach to lights for some of the scenes at night including the scenes in the tunnels. Editor Ferris Webster does excellent work with the editing as much of the cutting is straightforward to play into the action and suspense as well as to play into some of the dramatic moments in the film. Art director Fernando Carrere and set decorator Kurt Ripberger do amazing work with the look of the prison camp as well as some of the houses and the cooler as it is play into the claustrophobia and the way the tunnels were designed. The special effects work of A. Paul Pollard does terrific work with some of the action including some of the motorcycle chase for the film’s climax. Sound effects editor Wayne Fury does nice work with the sound in the way gunfire sound as well as some sparse sounds in the tunnel scenes. The film's music by Elmer Bernstein is incredible with some thrilling themes as well as a memorable marching theme as it adds to some of the humor and workmanship of the tunnels as it is a major highlight of the film.

The film’s marvelous ensemble cast as it feature some notable small roles from Ulrich Beiger and Hans Reiser as a couple of Gestapo officials who have it in for Bartlett, Jud Taylor as an American soldier who often keeps Hilts’ baseball glove for safekeeping, Robert Graf as a naïve German soldier in Werner whom Hendley likes to bullshit with but also make him feel important, Nigel Stock as a British officer in Cavendish who is nicknamed the Surveyor for making sure everything is kept secret from the Germans, Angus Lennie as the Scottish soldier Ives who often joins Hilts at the cooler with a desire to get out, David McCallum as a British officer who creates an ingenious way to get rid of dirt, John Leyton as Welinski’s friend Willie Dickes who helps Welinski in digging the tunnels and to help him with Welinski’s issues, and Gordon Jackson as Bartlett’s second-in-command Andy MacDonald who helps plan the escape and ensure that things go right.

Hannes Messemer is superb as Kommadant Oberst von Luger as the camp’s commandant who oversees everything and tries to make sure the prisoners are well-treated as he does give a sympathetic performance of a man just doing his job but also knows he doesn’t want to do anything extreme. James McDonald is fantastic as the British officer Captain Ramsey as the leader of the prisoners who tries to ensure that everyone does their duty and keep everything a secret while having to do some diplomacy with Kommadant von Luger. Donald Pleasance is excellent as the master forger Colin Blythe who strikes a friendship with Hendley as he deals with a growing blindness that makes his a liability as he also does what he can to help everyone out despite his blindness. James Coburn is brilliant as the Australian officer Sedgwick who helps construct some of the wood for the tunnels including the small trains as well as watch out for guards. Charles Bronson is amazing as the Polish officer Danny Welinski as a man who is an expert in creating tunnels yet is dealing with his own issues as he starts to deal with his illness that almost makes him a liability.

Richard Attenborough is incredible as RAF officer Roger Bartlett as a British officer who has already caused trouble with the Gestapo as he leads the charge to plan an escape as he also tries to boost up morale despite some of the darker moments that occur in the film. James Garner is phenomenal as the American RAF officer Bob Hendley who does what he can to get things as he also bullshits his way to get them but also a man who possesses a great sense of warmth to others including Blythe whom he vouches for and helps him escape as it’s one of Garner’s finest roles. Finally, there’s Steve McQueen in a tremendous performance as the American officer Captain Virgil Hilts as a man who likes to push buttons while being someone who can help everyone else as he is also willing to put himself in isolation just for the team as he’s also one of the toughest guys who is willing to do what it takes to outsmart the Nazis even if it means getting caught.

The Great Escape is a magnificent film from John Sturges. Featuring a tremendous ensemble cast, dazzling visuals, Elmer Bernstein’s sumptuous music score, gripping suspense, and a story of determination and wit. It is a film that can be served as a prison break film that everything else has to follow while it is also a testament to the human spirit in war whether it’s those digging the tunnels or those who try to create some kind of peace in the darkest of times. In the end, The Great Escape is an outstanding film from John Sturges.

Related: The Magnificent Seven

© thevoid99 2021

Bullitt

Based on the novel Mute Witness by Robert L. Fish, Bullitt is the story of a police lieutenant who is hired to protect a mob boss’ brother from testifying as they’re being chased by the mob. Directed by Peter Yates and screenplay by Alan R. Trustman and Harry Kleiner, the film is an action thriller that involves car chases and thrills where a police official tries to protect a man for a politician as it play into the world of corruption and crime. Starring Steve McQueen, Robert Vaughn, Jacqueline Bisset, Don Gordon, and Simon Oakland. Bullitt is a gripping yet engaging film from Peter Yates.

The film revolves around the brother of a mob boss who has arrived in San Francisco to testify for a politician as a police lieutenant is hired to protect the witness from the mob. It’s a film with a simple premise yet screenwriters Alan R. Trustman and Harry Kleiner is more concerned with the stakes of what this politician wants and how a police lieutenant is caught in the middle of this conflict. Notably as the politician Walter Chalmers (Robert Vaughn) wants to go to the Senate for a hearing about his views on organized crime with a key figure to help him as Lt. Frank Bullitt (Steve McQueen) is given the job to protect John Ross (Felice Orlandi). Yet, Bullitt is concerned about what is needed to protect Ross as he feels putting him in a hotel room with another cop isn’t enough when a young cop in Carl Stanton (Carl Reindel) is wounded during an ambush by two hitmen that would also wound Ross.

The script would play into Bullitt trying to understand what is going on as he deals with Chalmers who tries to make Bullitt’s job harder as well as get police officials to be on his side through bribes and promises. Even as Bullitt decides to hide Ross from Chalmers believing something isn’t right as he’s aided by Delgetti (Don Gordon) and a sympathetic doctor in Dr. Willard (Georg Stanford Brown) whom Chalmers dismisses as it adds intrigue into the tension between Bullitt and Chalmers. Even as the former becomes targeted by these mob figures and more intrigue emerges that even his girlfriend Cathy (Jacqueline Bisset) would discover the severity of what Bullitt is dealing with that would become a turning point into his investigation.

Peter Yates’ direction is stylish from the way he opens the film from its heist as well as opening credits sequence to its usage of superimposed images and cuts. Shot on location in San Francisco as well as nearby locations as the setting would be a major character in the film. Yates would maintain a low-key approach to the direction where it play into the suspense and building up the intrigue of what is at stake rather than go on board with the action. Notably in the usage of close-ups and medium shots that play into some of the drama that occur as well as Bullitt’s own investigation and life outside of the police with Cathy. Still, Yates would use these compositions to play into the ambush as there is a sense that something will happen yet it is its impact that would be important. Even in a scene in the hospital where a hitman is set to strike leading to a chase of sorts with Bullitt trying to find this man through the hospital corridors and such.

That small chase scene would be a taster for this intense and intricate chase scene involving Bullitt’s car and the car of the hitmen throughout the city of San Francisco. The usage of wide, medium shots, and close-ups along with its approach to realism is among one of the most astonishing sequences captured on film where Yates gets a point-of-view of the driver in his car as well as the geography of a certain location and where the car is supposed to turn. It plays into the stakes of the film as its third act is about what Ross did and what is really going on along with why Chalmers needs him so bad only to realize that it’s become a far more complicated situation leading to an intense climax. Overall, Yates crafts a riveting and intoxicating film about a police lieutenant’s attempt to protect a witness for a major Senate hearing.

Cinematographer William A. Fraker does excellent work with the film’s cinematography as it is largely straightforward for many of the daytime exterior scenes along with its usage of low-key lights for some of the interior/exterior scenes set at night. Editor Frank P. Keller does incredible work with the editing with its usage of rhythmic cuts as well as the film’s car chase sequence as there’s a language and rhythm that add to the suspense as it’s a major highlight of the film. Art director Albert Brenner, with set decorators Phil Abramson and Ralph S. Hurt, does fantastic work with the look of the hotel room that Ross was staying in as well as the apartment that Bullitt lives in.

Costume designer Theadora Van Runkle does nice work with the costumes as it does have some style from the turtleneck sweater that Bullitt wears to the stylish dresses of Cathy. The sound work of John K. Kean is superb for the way different cars and tires are heard during the car chase as well as the sounds of sirens and gunfire. The film’s music by Lalo Schifrin is amazing for its jazz-based score that play into suspense and action as well as maintaining an energetic atmosphere throughout the film as it is another big highlight of the film.

The casting by Ann Brebner is terrific as it feature some notable small roles from Norman Fell as a police captain working closely with Chalmers, Justin Tarr as an informant for Bullitt, Victor Tayback as Ross’ brother Pete who is the target of the investigation, Georg Stanford Brown as Dr. Willard who understands the severity of Ross’ wound, Carl Reindel as a police detective in Carl Stanton who gets wounded by the ambush, Paul Genge and Bill Hickman as the two hitmen, Pat Renella as a mysterious mob figure, and Robert Duvall in a small role as a cab driver who takes Bullitt to the locations he drove Ross around. Felice Orlandi is superb as Johnny Ross as the brother of a mob boss who has agreed to testify to the Senate to help out Chalmers’ and his need to get rid of crime. Jacqueline Bisset is wonderful as Bullitt’s girlfriend Cathy as a woman who doesn’t know much about what her boyfriend does until she gives him a ride where she gets a close look into what he’s dealing with.

Simon Oakland is excellent as Bullitt’s superior Captain Sam Bennett who is giving Bullitt a lot to work with but is also tempted by what Chalmers is offering. Don Gordon is fantastic as Delgetti as a detective helping out Bullitt as he knows something is off as he also has a dislike towards Chalmers. Robert Vaughn is amazing as Walter Chalmers as a politician who is eager to become a senator in order to rid the world of crime yet he has his own ideas of handling things as well as offer those benefits if they’re loyal to him. Finally, there’s Steve McQueen in a phenomenal performance as Lieutenant Frank Bullitt as a police detective who is tasked to protect a witness for an upcoming Senate hearing as he is aware something off as it’s McQueen being cool and low-key in his no-nonsense performance while being someone who cares about the job and is aware of what is at stake.

Bullitt is a spectacular film from Peter Yates that features an iconic performance from Steve McQueen. Along with Lalo Schfrin’s playful score, top-notch editing, superb ensemble cast, and a riveting premise, the film is definitely an action-suspense film that manages to do a lot in its dramatic and suspenseful moments as well as know when to bring in the thrills. In the end, Bullitt is a tremendous film from Peter Yates.

Peter Yates Films: (Summer Holiday) – (One Way Pendelum) – (Robbery) – (John and Mary) – (Murphy’s War) – (The Hot Rock) – (The Friends of Eddie Coyle) – (For Pete’s Sake) – (Mother, Jugs & Speed) – (The Deep) – Breaking Away - (Eyewitness) – (Krull) – (The Dresser) – (Eleni) – (Suspect) – (The House on Carroll Street) – (An Innocent Man) – (Year of the Comet) – (Roommates) – (The Run of the Country) – (Curtain Call) – (Don Quixote (2000 film))

© thevoid99 2019

The Getaway (1972 film)

Based on the novel by Jim Thompson, The Getaway is the story of a criminal who is released from prison by his wife as they’re both on the run following a botched bank robbery as well as what the wife had to do to get her husband released. Directed by Sam Peckinpah and screenplay by Walter Hill, the film is a neo-noir film that explores a couple trying to survive while with things that nearly destroyed their marriage. Starring Steve McQueen, Ali MacGraw, Ben Johnson, Al Letteri, Sally Struthers, Bo Hopkins, Jack Dodson, and Slim Pickens. The Getaway is a thrilling and compelling film from Sam Peckinpah.

The film follows a couple who go on the run after a robbery for a businessman went wrong as some secrets are unveiled that make things more complicated for this married couple. It’s a simple film that isn’t just about relationships and what some will do to help that person but also the severity of these sacrifices. Walter Hill’s screenplay doesn’t just show the intense love that Carter “Doc” McCoy (Steve McQueen) and his wife Carol (Ali MacGraw) have for each other but also in the situation they’re in as play into corruption and deals of the worst kind. Especially as Doc is serving prison time for his own work as a robber as he is being denied parole until Carol makes a deal with the corrupt businessman Jack Beynon (Ben Johnson) to release Doc but Doc would have to perform a bank robbery with two other men.

Doc does the deal but the robbery doesn’t go well as one of his accomplices in Rudy (Al Letteri) would try to create a double-cross that failed only for Doc to realize he’s being double-crossed by Beynon who would reveal what Carol did to get Doc out of prison. Hill does create a unique structure where the first half is about Doc’s release, the botched robbery, and the ill-fated meeting with Beynon after the robbery while its second half is about Doc and Carol on the run as they ponder the future of their marriage. Yet, they’re being pursued by Beynon’s men and a wounded Rudy as well as the law where it just adds to the trouble that the McCoys would have to endure. Even as they try to make it to El Paso, Texas and reach the border with nearly half-a-million dollars which Beynon’s men and Rudy want.

Sam Peckinpah’s direction definitely bear a lot of the stylistic elements he’s known for with its usage of slow-motion to capture some of the graphic violence as well as its disdain for aspects of the modern world. Shot in various cities around Texas including San Antonio and El Paso, the film does have the feel of a western but it meshes with element of noir though not on a visual sense for the latter. While Peckinpah uses a lot of wide shots for the locations as well as some intense scenes in the violence. He would favor something that is more intimate as it relates to the McCoys’ relationship with each other as well as some of the characters they meet. Notably the scene after the botched robbery where there is this air of tension between Doc and Beynon as it has a lot of what is happening where it does play into the elements of film noir.

By the time the film reaches the second half where much of it is spent on the road where the McCoys are on the run. There is a looseness to the direction while Peckinpah would also maintain some suspense as it relates to a sequence involving a con man in a train or car chases involving the cops. The scenes on the road also pertain to Rudy where he holds a veterinarian and his wife hostage as it would create more issues as the wife would fall for Rudy. The climax is set at a hotel where many criminals would hide out as it is quite bloody as well as display some intricate framing in how Peckinpah would play into the suspense to see if the McCoys can survive the attack from all of these forces who doesn’t just want the money but also the McCoys dead. Overall, Peckinpah creates a captivating and gripping film about a married couple going on the run with nearly half-a-million dollars in cash.

Cinematographer Lucien Ballard does excellent work with the film‘s very sunny and colorful cinematography for many of the daytime exterior locations as well as some of the interiors while using low-key lights for the scenes set at night. Editor Robert L. Wolfe does fantastic work with the editing with its usage of slow-motion cuts, jump-cuts, and other stylistic moments to play into the suspense and violence. Art directors Angelo P. Graham and Ted Haworth, with set decorator George R. Nelson, do amazing work with the look of Beynon‘s house and office as well as the hotel that many of the criminals stay at near El Paso.

Sound editor Michael Colgan and Josef von Stroheim do superb work with the sound as it play into the chaotic sounds of gunfire and violence as well as some of the moments involving the car chases and dumpster truck scene. The film’s music by Quincy Jones is brilliant for its jazz-like score with elements of rock, country, and funk as it play into the energy of the film as well as some of the somber moments as it is a highlight of the film.

The casting by Patricia Mock is wonderful as it feature some notable small roles from Dub Taylor as the hotel owner Laughlin, Bo Hopkins as a robber in part of the heist who would fuck things up accidentally, Richard Bright as the con man that tried to steal the bag of money from Carol, Roy Jenson as Beynon’s business partner Cully, Jack Dodson as the veterinarian named Harold whom Rudy would hold hostage to fix him up, and Slim Pickens in a brief yet superb performance as a cowboy Doc and Carol would meet as he is just so fun to watch in his brief cameo. Sally Struthers is pretty good as Harold’s wife Fran who would fall for Rudy as she does whatever she can to help Rudy while being frightened by the chaos around her. Al Letteri is fantastic as Rudy as a robber who tries to double-cross Doc as he would survive their encounter as he goes after him and Carol.

Ben Johnson is excellent as Jack Beynon as a corrupt businessman who would use his influence to get Doc out on parole but he would also do things to Doc that would just push the McCoys to the edge. Finally, there’s the duo of Steve McQueen and Ali MacGraw in remarkable performances in their respective roles as Doc and Carol McCoy. McQueen provides that sense of bravado and grittiness to his performance as a robber that knows everything but would display some vulnerability and humility into what his wife had to do to get him out of jail. MacGraw’s performance as Carol shows a woman that is desperate to help her husband anyway she can as she then feels disappointed and ponders if she made the right decision. McQueen and MacGraw definitely display some chemistry that bring some realism to the couple in the way they love each other as well as express their own frustrations as it plays true to the world of noir.

The Getaway is a phenomenal from Sam Peckinpah that features great performances from Steve McQueen and Ali MacGraw. Featuring a superb supporting cast, gorgeous locations, thrilling action, and a snazzy score from Quincy Jones. The film is one of Peckinpah’s more accessible films as well as a great blend of noir and suspense with bits of the western. In the end, The Getaway is an incredible film from Sam Peckinpah.

Sam Peckinpah Films: The Deadly Companions - Ride the High Country - Major Dundee - Noon Wine - The Wild Bunch - The Ballad of Cable Hogue - Straw Dogs - Junior Bonner - Pat Garrett and Billy the Kid - Bring Me the Head of Alfredo Garcia - The Killer Elite - Cross of Iron - Convoy - The Osterman Weekend - The Auteurs #62: Sam Peckinpah

© thevoid99 2016

Junior Bonner

Directed by Sam Peckinpah and written by Jeb Rosebrook, Junior Bonner is the story of a rodeo cowboy who returns to his hometown for a rodeo events as he deals with his estranged parents and his brother. The film is an intimate portrait of a man dealing with aging as well as trying to make amends with his family where they all deal with change in their surroundings. Starring Steve McQueen, Joe Don Baker, Robert Preston, Ben Johnson, and Ida Lupino. Junior Bonner is a heartwarming and evocative film from Sam Peckinpah.

Set in the 4th of July weekend, the film revolves around an aging rodeo cowboy who arrives to his hometown for an event as he meets with his estranged family as his parents are going through hard times and a separation while his brother has become a successful businessman. It’s a film that plays into a man trying to see his family during the weekend as he copes with the fact that his brother has torn down the old family home to create a line of mobile homes as well as other things relating to his family. It’s a film with a simple story as it play into changing times but also a man trying to make amends as he deals with his family. Jeb Rosebrook’s script follows the titular character (Steve McQueen) who has been down on his luck in the rodeo circuit as a bull he’s trying to ride remains undefeated as he wants another shot in his hometown of Prescott, Arizona. Yet, he is aware that it’s his last shot as he’s broke and in need to do something for himself.

While his brother Curly (Joe Don Baker) would offer him a job, it is done with a sense of arrogance as Junior doesn’t like what Curly is doing. At the same time, their father Ace (Robert Preston) wants money to go to Australia for prospecting believing there is something there as Curly thinks it’s a bad scheme while Ace’s estranged wife Elvira (Ida Lupino) agrees as she sells antiques for a living while being unsure about living in a mobile home. Junior’s relationship with his father is a unique one as both men are dreamers in some ways where Junior understands what his father wants no matter how foolish the dream is as Junior is like his dad in some ways. Though Ace is a womanizer, he still carries a torch for Elvira as he wants her to join her yet she doesn’t know considering the many failures he’s had. Even as the family becomes unsure if Junior can pull off one last victory in the rodeo as it is clear he doesn’t have much time left as well as very little options in his life.

Sam Peckinpah’s direction is very understated in terms of the fact that it’s a more subdued film in comparison to a lot of the films he’s known for as they’re very violent. With the exception of a comical barroom brawl and a fight between Junior and Curly, the film isn’t very violent at all as it’s more about the life of a family in this small town in Arizona. Shot largely on location in Prescott, Arizona, the film does play into a world that is changing as the images of the old Bonner family home being destroyed is startling while there are these shots mobile homes from afar that are being shown to play into this sense of change. Many of Peckinpah’s compositions are simple as well as have an air of intimacy in the medium shots and close-ups to play into the interaction of the Bonner family. The wide shots would play into the locations as well as some shots of the 4th of July parade while Peckinpah would just maintain that sense of Americana that feels like a community coming together and celebrate. The rodeo scenes are quite stylish as Peckinpah presents them with that air of energy but also excitement as it is a world that is in its own time no matter how much the world around it changes. Overall, Peckinpah creates a somber yet touching film about a rodeo cowboy returning home to make amends with his family and go for one last victory in the rodeo.

Cinematographer Lucien Ballard does brilliant work with the film‘s cinematography from the grainy, low-key look of the flashback scenes of a rodeo in the film‘s opening scene to the more colorful look of the exteriors in Prescott as well as the interiors inside the bar. Editors Frank Santillo and Robert L. Wolfe do amazing work with the editing with its usage of jump-cuts, split-screens, slow-motion cuts, and other stylistic cutting as it plays into the vibrancy of the rodeo as well as the world of the American West in its modern context. Art director Ted Haworth, with set decorators Angelo P. Graham and Jerry Wunderlich, does nice work with the look of the home that Elvira lives in as well as the bar where many of the locals hang out at. The sound work of Larry Hooberry is terrific for the sound of the crowd at the rodeo and at the bar as well as the quieter moments involving Junior and his parents. The film’s music by Jerry Fielding is superb as it‘s mainly a country-based score with its guitars and sliding guitars as well as some songs in that style of country-western music.

The casting by Lynn Stalmaster is excellent as it features some notable small roles from Sandra Deel as Ace’s nurse Arlis whom Ace flirts with, Don “Red” Barry as a rodeo impresario named Homer Rutledge, Bill McKinney as a rival rodeo cowboy named Red Terwiliger, Barbara Leight as Rutledge’s girlfriend Charmagne who takes a liking towards Junior, and Mary Murphy as Curly’s wife Ruth. Joe Don Baker is terrific as Curly Bonner as Junior’s brother who has become a successful yet arrogant businessman that is eager to make money out of mobile homes as he believes it is the future while not understanding that Junior and their father are part of the old ways of the world. Ben Johnson is superb as Buck Roan as a rodeo owner who knows Junior and his father as he is reluctant to let Junior ride this bull knowing that Junior’s luck has been running out.

Ida Lupino is amazing as Elvira Bonner as the estranged wife of Ace who is a down-to-earth woman that is happy to see Junior though she is aware of the path he’s taking as she tries to understand why he can’t exactly give up the world of the rodeo. Robert Preston is brilliant as Ace Bonner as Junior’s father who likes to drink and chase around women as he laments over the ways of the world as he hopes to go to Australia to mine and raise sheep there as a way to be with the old ways. Finally, there’s Steve McQueen in a phenomenal performance as the titular character as this aging rodeo cowboy that is aware that he’s running out of chances as well as try to make amends with his family no matter how complicated things are as it’s a very grounded and solemn performance from McQueen.

Junior Bonner is a remarkable film from Sam Peckinpah that features great performances from Steve McQueen, Ida Lupino, and Robert Preston. While it is a very different western of sorts from Peckinpah as well as a more dramatic-based feature. It is still a fascinating film about the ideas of the old ways vs. the new ways where a man tries to cope with change and help his family. In the end, Junior Bonner is a marvelous film from Sam Peckinpah.

Sam Peckinpah Films: The Deadly Companions - Ride the High Country - Major Dundee - Noon Wine - The Wild Bunch - The Ballad of Cable Hogue - Straw Dogs - The Getaway - Pat Garrett and Billy the Kid - Bring Me the Head of Alfredo Garcia - The Killer Elite - Cross of Iron - Convoy - The Osterman Weekend - The Auteurs #62: Sam Peckinpah

© thevoid99 2016

The Magnificent Seven

Based on the 1954 samurai film The Seven Samurai by Akira Kurosawa, The Magnificent Seven is the story of seven gunmen hired by small Mexican village to protect them a group of bandits. Directed by John Sturges with a screenplay by William Roberts, with additional work from Walter Newnan and Walter Bernstein, the film is an ensemble piece that revolves around seven different men who are fighting off a bandit trying to wreak havoc in a small town. Starring Yul Brenner, Steve McQueen, Charles Bronson, James Coburn, Robert Vaughn, Brad Dexter, Horst Buchholz, and Eli Wallach. The Magnificent Seven is an extraordinary western from John Sturges.

After a group of bandits led by Calvera (Eli Wallach) has managed to take everything from a small farming village leaving little food for the village. A trio of farmers want to fight back as they decide to go to the border to buy guns. Instead, they come across a couple of gunfights led by Chris (Yul Brenner) and Vin (Steve McQueen) who managed to fight off a few gunfighters at a funeral service. Impressed, the farmers ask Chris about buying guns where Chris suggests that it’s best to hire gunmen to fight off Calvera as he decides to recruit a group. With Vin joining along, they bring in two veteran gunslingers in Harry (Brad Dexter) and Lee (Robert Vaughn), an Irish-Mexican named Bernardo O’Reilly (Charles Bronson), and a switchblade-wielding cowpuncher named Britt (James Coburn). Joining them is an inexperienced gunslinger named Chico (Horst Buchholz) who Chris reluctantly lets him be part of the posse.

Arriving at the village, Chris and his men meet with the village and teach the farmers how to defend themselves after encountering a few of Calvera’s men. During this time, the villages and gunmen bond as O’Reilly becomes an idol to a few of the boys while Chico falls for a village girl named Petra (Rosenda Monteros). The gunmen also share the food with the villagers as they eventually meet Calvera who is surprised by what the villagers brought in as a battle ensues. Though Calvera and his group of bandits were forced to flee, things still remain uneasy for the farmers as its leader Sotero (Rico Alaniz) thinks they should stop fighting. Notably as Chico learns what Calvera wants to do as they’re running out of food, the gunmen decides to make a surprise raid only to return to the village where Calvera has taken control. Forcing to flee town, Chris and the gunmen figure out what to do as they eventually decide to fight Calvera and his men for the honor of the villagers.

The film is essentially the story of a group of gunmen who hired by villagers to fight off against a group of bandits and help the villagers defend themselves. It’s a premise that is very simple where the gunmen bond with the farmers but also deal with their own issues as they’re just men that are hired to do a job and try not to get attached. The screenplay by William Roberts is quite faithful to Akira Kurosawa’s The Seven Samurai in terms of the psychological aspects of the story as well as the characters. Roberts does make some changes by making it into a western while creating a lead villain in Calvera that is complex in his idea of taking everything for himself and his men while making sure the villagers still get a piece in return. It’s something Chris and the men don’t agree with as they feel there’s a lot of reason to fight for these villagers.

John Sturges’ direction is superb for its wide-open scenery as it’s shot on location in Mexico. While there’s a lot of great scenes involving the action and shootouts that occur that is engaging to watch. It’s the scenes where the men try to plan out everything while they each deal with their own feelings about what they’re doing. The way Sturges frames these intimate moments with medium shots and multi-character shots is to establish that it’s a group that is placing the fates of the farmers in their hands. While some of the film’s melodrama is a bit overdone at times for scenes that involve Chico and his naiveté, Sturges does manage to create a very solid and entertaining western that is very faithful to Akira Kurosawa’s much-lauded 1954 film The Seven Samurai.

Cinematographer Charles Lang does fantastic work with the film‘s photography by providing some vibrant settings for the film‘s exteriors while maintaining an intimate lighting scheme for some of the film‘s interior scenes. Editor Ferris Webster does a nice job with the editing to maintain a leisured pace for the film along with some rhythmic cuts for the film‘s shootout scenes. Art director Edward Fitzgerald and set decorator Rafael Suarez do superb work with the set pieces such as the Texas town that the villagers come across to the more rural but wonderful village that the gunmen start to be entranced by. The sound work of Rafael Ruiz Esparza and Jack Solomon is terrific for the way it plays up the suspense as well as the tense, chaotic atmosphere for the film’s battle scenes.

The film’s score by Elmer Bernstein is brilliant for its swelling yet triumphant orchestral score. Filled with dazzling arrangements and pieces that plays up the suspense, action, and drama, it’s truly the film’s highlight as it’s another of Bernstein’s great scores.

The film’s cast is excellent for the ensemble that is created as it includes notable small roles from Rico Alaniz as village head Sotero, Vladimir Sokoloff as the old village man, and Rosenda Monteros as the young woman Chico falls for in Petra. Eli Wallach is brilliant as the slimy yet complex Calvera who displays a great sense of intelligence who can manipulate anyone into seeing what he’s about as it’s definitely one of Wallach’s best roles. For the roles of the Magnificent Seven, there’s notable standout performances from Brad Dexter as the veteran Harry Luck who is looking for a big payday while Robert Vaughn is superb as the troubled Lee who is dealing with demons from the many gunfights he has. Horst Buchholz is pretty good as the young Chico who is a very determined gunfighter that wants to prove something although when it comes to heavy drama, it’s a bit overdone and quite unbelievable at times.

James Coburn is great as the cool yet switchblade knife-wielding Britt who is very laid-back but also a very cunning and dangerous character that anyone would want in their gang. Charles Bronson is phenomenal as the very resilient yet skilled gunfighter O’Reilly who becomes a reluctant idol to young boys in the village while is just trying to show them that what he’s doing isn’t bravery but survival. Steve McQueen is awesome as the very cool Vin who acts as Chris’ right-hand man who teaches the villagers how to fight while being the most reluctant to help them out as he wonders why should they fight for them. Finally, there’s Yul Brenner in an incredible performance as the leader Chris who sports nothing but black while being the one guy who can take care of things and lead a group to revolt.

The Magnificent Seven is an engaging yet adventurous western from John Sturges. Featuring top-notch performances from Yul Brenner, Steve McQueen, James Coburn, Charles Bronson, and Eli Wallach. It’s a film that bears a lot of hallmarks and attributes that fans of the genre can love as well as a story that works to play up the motivations for its lead characters. While it may not have the more complexity and drama of The Seven Samurai, it is still a film that is quite faithful to the Akira Kurosawa classic. In the end, The Magnificent Seven is a superb western from John Sturges.

 

Related: (The Seven Samurai) - The Great Escape

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