Butch Cassidy and the Sundance Kid

Director: George Roy Hill

1969

“The iconic teaming of Paul Newman and Robert Redford was so magical – and so profitable, scoring the year’s biggest hit – that this offbeat character study/action comedy in Western trappings and bathed in cinematographer Conrad Hall’s Oscar-winning sepia hues has been a touchstone for bickering buddy pictures ever since.” (494, Angela Errigo, 1001 Movies You Must See Before You Die)

I went through a period where I watched films in genres or by directors that normally bore me to tears and discovered that actually there were a few I enjoyed, such as Woody Allen’s The Purple Rose of Cairo (1985). And it turns out that Butch Cassidy and the Sundance Kid is, so far, the only Western film I’ve watched that hasn’t bored me silly. But then I wouldn’t necessarily categorize it strictly as a western. It may have a number of the western tropes but in reality it is much more character driven. It’s really about these two men and their friendship that just so happens to take place against a western backdrop. And this is precisely why I found it entertaining rather than turgid like so many other films in the western genre.

There is lots of humour and having watched a number of buddy movies it’s clear that a lot of them have been influenced by this movie. The core trio of Butch (Paul Newman), Sundance (Robert Redford) and Etta (Katherine Ross) are brilliant, and in some ways remind me a little bit of the ‘golden trio’ from Harry Potter (J. K. Rowling) – they work best as a trio, each complimenting and at times reigning each other in. I actually really enjoyed watching Newman and Redford in their prime. Paul Newman is often held up as one of the truly brilliant actors of recent Hollywood and yet he is an actor whose work I have really not seen very much of so it was interesting to see him working his magic on-screen. They make a handsome pair of bandits as well it can’t be denied.

“[But] the film is immortal for its final image of the pair, freeze-framed as they run out into a shoot-’em-up with an army.” (494) Having never seen the film I had still been aware of this iconic final image. Now I have the context behind it and it makes the image so much more powerful.

butchButch Cassidy and the Sundance Kid is an utterly disarming combination of smart, original screenwriting, handsome visual treatment, and star power. With all the jokes and poses, there is still real interest in the well-defined, contrasting characters.” (494) I couldn’t agree more with Errigo. If it had been otherwise there is a high chance I would have been writing yet another blog about how dreary and tedious I find western movies so this was a nice surprise. However apologies for the crapness of this post – I’m pretty tired and clearly my brain isn’t working all that well. Don’t let my inarticulate ramblings dissuade you from watching the film because it really is so much more than I have touched upon in this update.

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Fantasia

Director: Ben Sharpsteen

1940

“Although now commonplace, creating images to interpret music was revolutionary when this audacious milestone in animation and stereophonic audio recording was conceived and executed by the Walt Disney studio to universal acclaim and astonishment.” (159, Angela Errigo, 1001 Movies You Must See Before You Die)

41b563y0qal-_sl500_aa300_I have a vague memory of watching Fantasia when I was much younger but it wasn’t really one that stuck in my head for very long. I re-watched it recently and found it fairly disjointed and as Errigo says below somewhat disappointing. “Even on IMAX screens, the exhibition scene of choice for the most recent of Disney’s several anniversary restorations, recordings, and releases of their prized 1940 animation landmark, Fantasia can be disappointing because it is still a remorselessly kitsch experience, however impressive and groundbreaking an achievement.” (159)

The music is incredible, there is no denying that, but there isn’t a narrative to tie the different segments together and I think the film suffers because of that. It was an experiment that may have worked when it was produced in 1940 but just couldn’t stand the test in time. As the different segments were all animated by different teams there isn’t even a single cohesive visual style that could hold the film together. And some of the animation is clearly still  at the time of production. Having said that there are some foreshadowing of animation that would go on to form some of Disney’s later films. The one segment that I particularly enjoyed was the one that focused on mythology as I could see aspects of design that would be honed at a later date to form the basis of Hercules (1997, Ron Clements & John Musker) which is actually one of my favourite Disney movies.zeus2

I found that the segments Errigo mentioned as having held up the best against the ravages of time (“Mickey Mouse, never more delightful than as the Sorcerer’s Apprentice desperately trying to halt the self-replicating brooms he has conjured up to do his chores, the dancing Chinese mushrooms, a darling chorus line of eyelash-batting pachyderms, the hippos in ballet tutus cavorting daintily and fleeing caped alligators […]”) are the ones that didn’t really make an impression on me. Especially the much beloved Sorcerer’s Apprentice segment with Mickey Mouse but then I have never really found Mikey Mouse a sympathetic character. There is of course the exception of the dancing hippos because those are amazing! fantasia

It’s not one that I would watch again – mainly because I found the lack of narrative created a fractured film. It would work as a series of videos that would be amusing to watch as stand alone shorts but put them together and for me it just all falls apart.

The Purple Rose of Cairo

Director: Woody Allen

1985

“This sublime nostalgic comedy avoids the usual Allen formula of “goofy New Yorkers having trouble with relationships. Both Woody Allen and his famous neurotic monologue are absent this time […]” (716, Dana Duma, 1001 Movies You Must See Before You Die) This would explain why I actually liked The Purple Rose of Cairo! I was a little reluctant to watch this when I realised it was by Woody Allen as in my opinion he is one of the most overblown, egotistical writer/directors in Hollywood. So you can imagine my surprise when it turned out that I actually quite enjoyed The Purple Rose of Cairo. And I think it’s precisely due to the lack of Allen’s signature moves that this film was somewhat of a delight rather than a chore.

purple-rose-of-cairoIt’s a strange little film set in Depression era America so everything is a little bit muted and washed out, a little broken, and yet there is a charm to it all. Mia Farrow’s Cecilia starts out as this quiet, almost dejected young woman, continually put down by her louse of a husband and through her love of cinema blossoms into something entirely different. You can’t help but respond to Cecilia. And she really is the focus of the film – she’s the character that develops the most.

It’s quite a kooky thing which breaks a number of the norms of cinema such as breaking the fourth wall. And then there’s the combination of colour (the ‘real world’) and black and white film (the film Cecilia falls in love with) which adds some interesting dynamics to the  aesthetics of the film. Jeff Daniels is wonderful in portraying two very different characters, both leading men (one imaginary and one the actor responsible for creating him) each with flaws that somewhat diminish through their interaction with Cecilia.

While it is a somewhat ludicrous storyline – a character walks off the screen in the middle of a film because he falls in love with a member of the audience – there is something magical about it. As a cinema lover myself you can tell that this film was created by someone who does indeed love cinema. There is a reverence to the film although Allen is not afraid to make fun of the cinematic universe with some brilliantly tongue in cheek performances but some splendid actors such as the enormously talented Edward Herrmann.

“Above all, The Purple Rose of Cairo is about love, perhaps Allen’s greatest love of all: for cinema.” (716) I would definitely suggest this to people – especially if, like me, you have found Woody Allen’s work pretentious and overwrought in the past – as this turned out to be a wonderful little film.