Butch Cassidy and the Sundance Kids

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 Boyhood (Richard Linklater, 2014). 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.

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.