BUTCH CASSIDY AND THE SUNDANCE KID (1969)
In 1968 Paul Newman teamed up with Robert Redford, director
George Roy Hill and writer William Goldman to create not only one of the
greatest Westerns, but probably my favourite film of all time. I’ll attempt to
explain why in some detail…
The plot is loosely based on the true adventures of two
outlaws, Robert Leroy Parker (aka Butch Cassidy) and Harry Longbaugh (known as
the Sundance Kid). Butch was the extremely likeable head of the Hole In The Wall
Gang. The Kid was the somewhat ruthless crack-shot killer of the group, a loner
who had no friends except for Butch. After pulling off a series of robberies
culminating in the looting of a sum from a train belonging to E.H. Herriman,
their tycoon victim paid to assemble a Super Posse so impressive that the two
fled to Bolivia with the Kid’s girlfriend Etta Place in tow, where eventually
the two thieves were cornered and killed in a shoot-out by the authorities.
William Goldman was extremely smart and justly
celebrated in how he wove the story together to craft one of the most brilliant
movie scripts of the art form in both plot and priceless dialogue. Goldman
wasn’t a fan of the Western genre, hated horses and knew nothing about the
period but what appealed to him was the fact that Butch and Sundance ran away
to South America. This created a problem: at that time Western films only
featured heroic leading characters; you’d never see John Wayne allowed to be a
cowardly runaway. Goldman solved this by staging a 27-minute extended sequence
in the middle of the movie showing the Super Posse’s pursuit of the pair with
almost supernatural and relentless skill. The on-screen staging supported this
masterfully by Conrad Hall’s camera direction always filming them tantalisingly
too far away to be identified, increasing their looming intimidation “Who ARE those guys?” the boys
repeatedly declare in fearful wonder.
Also, Goldman initially struggled with the portrayal of
Etta. He hated writing for women in action films as (with the exception of
Ripley in the ALIEN series) they were never able to do anything influential.
Plus, almost nothing was known about her except that that she was beautiful and
possibly a prostitute. Goldman’s solution was two-fold. He gallantly gave her
the benefit of the doubt professionally by making her a school-teacher, and
conceived her such that in every scene she surprises us. (This ended up being
true of the male leads as well).
In casting BUTCH CASSIDY, George Roy Hill, a renowned
Broadway and film director of comedy stuck to his guns, so to speak, in wanting
Robert Redford opposite Newman. Paul Newman was an established box-office name
and the studio demanded Steve McQueen as the Kid. Redford had only done a
handful of films at that point and was not an A-list draw yet. Hill knew that
there would be great chemistry between Newman and Redford, using their own natural
affinity for their parts. He was proved right in spades. Newman (who actually
didn’t mind which of them he played)
gives Butch his own loose, warm generosity. Redford though also a
likeable man could project an air of suitably cool reserve. They also looked
extremely attractive on screen, enhanced even more by the addition of the
enchanting talent of Katharine Ross. Redford was made by this film, his career
and life changed immeasurably. Incidentally, Goldman’s writing title was THE
SUNDANCE KID AND BUTCH CASSIDY until Newman’s star wattage caused it to be
reversed to favour him.
The dialogue of the film is not only extremely witty
and economical, it was deliberately composed with a contemporary feel to the
characters, giving them a modern sensibility that audiences could relate to. In
a lengthy pre-production phase, Goldman and Hill shaped the script’s tone to
ensure that the comedy didn’t overshadow the careful relationship they wanted
the viewer to have with the boys. Too many laughs would spoil our compassion
for them when they die. This concern continued beyond the film’s initial
release with some gags possibly being taken out to emphasise this. BUTCH
CASSIDY also benefitted from Hill’s theatre background in giving the cast two
weeks of rehearsal prior to shooting, an almost unheard-of luxury today.
Shooting went very smoothly, despite Hill being
repeatedly hassled by the studio to finish quicker to meet a release date. He
was under so much pressure that he slept in one of the dressing rooms to save
valuable time in getting onto set fast each day. Newman and Redford developed a
generous mutually-supportive bond on and off screen, the beginning of a
life-long friendship. (After THE STING, also made with Hill, they hoped for
further collaborations – never as sequels – but surprisingly one never
materialised).
The one relationship that unfortunately suffered was
between Hill and Ross. In her 1994 interview for the DVD, Katharine explained
that one day when the crew needed six camera operators and had only four, she
volunteered to helm one for them. She’d fancied possibly developing this as a
skill. It was not a key position for the shot she filmed, but Hill, one or two
of the camera team and stuntmen were angered by this ‘infringement’ and she was
thus banned from the set from then onwards apart from her on-screen days, which
sadly coloured her enjoyment of filming – although she did marry Conrad Hall. “I was the straight man”. she said
self-deprecatingly of her role, which downplays Etta’s humanising of the
men-folk. Equally, there is a nice modernity in how she stands up for herself. The
Kid takes her for granted as coming along with them to Bolivia. Etta submits to
being ‘den mother’, but then curtly supplies her own terms: “I won’t watch you die. I’ll miss that scene
if you don’t mind”.
BUTCH CASSIDY AND THE SUNDANCE KID is a perfect blend of wry and sarcastic commenting humour and one
classic scene after another. Watch how the Kid is introduced after Butch’s
casing of the bank. We enter a card-game as late as possible (part of Goldman’s
skillful construction), where he is accused of cheating. The camera stays on
him as the tension mounts. Even when Butch enters, we are focused on
potentially unavoidable violent resolution. Then Butch reveals who Redford’s
character is and the Kid demonstrates his shooting prowess. Enigmatic, taciturn
and dangerous - a perfect introduction
to Sundance – nicely undermined by Butch’s waggish teasing as they exit: “Like I’ve been telling ya. Over the hill…”.
The by-play between Butch and Sundance is never based
on gags for the sake of it. Their bickering reveals character as all the best
writing does:
“You just keep thinking, Butch. That’s what you’re good at.”
“You just keep thinking, Butch. That’s what you’re good at.”
“Boy, I got vision - the rest of the world wears bifocals..” Butch mutters in reply.
My favourite of their exchanges is at the end of the
Super Posse chase, the seeming impasse of the cliff-top. Firstly, Butch is
getting nowhere asking the Kid for his thoughts on escape:
“How come you’re so talkative?”
“Jus’ naturally blabbly I guess.”
“Jus’ naturally blabbly I guess.”
Butch then realises the only way they can evade their pursuers
is to jump into the precarious rush of the river below. It is then that the
frightened Kid is forced to reveal he can’t swim. Butch laughs at this,
reasoning there’s no other way out:
“Wouls you make a jump like that if you didn’t have to?”
“I have to and I’m not gonna”.
“Wouls you make a jump like that if you didn’t have to?”
“I have to and I’m not gonna”.
“Are you kidding? The fall’ll probably kill ya.”
Of course they survive it. By now we’ve grown to like
them so much, we’d hate the chase to end any other way.
The lovely Burt Bacharach score deserves praise as well
for how it helps to not only cement the warm playful chemistry between the
three leads, but also bridges the comedy and seriousness of the developing plot
- another vital and distinctive element of the film. ‘Raindrops Keep Fallin’ On My Head’ seemed a
bizarre non-sequitur idea, and let’s not forget it’s a very
contemporary-sounding song, yet its joyful coupling with Butch and Etta’s
romantic ride and his madcap bike stunts became very popular. (A stuntman was
hired but wasted two weeks coming up with zero stunts so Newman did almost all
of his own as you see). This idyllic sequence is hilariously undermined by
another favourite dialogue gem. The Kid asks what Butch and Etta are doing as
they embrace platonically afterwards:
“Stealin’ your woman.”
“Take ‘er”, burps the Kid, casually walking
off.
“You’re a romantic bastard, I’ll give ya that” observes Butch.
Goldman never forgets the human drama at stake, and
grounds the chuckles with the fearful inevitability of their demise when they
seek refuge with their friend Sheriff Bledsoe (a brief but excellent Jeff
Corey). He cares about them and tells it like it is: “Your times is over and you’re gonna die bloody – and all you can do
is choose where!”.
This melancholy edge infuses the rest of the film
beautifully, even tingeing the fabulous Bacharach melodies, After the carefree ‘Raindrops’,
the second of the three musical sequences is a terrific period sepia-tinted
montage of still photos showing the three friends whooping it up in New York
before taking the ship to South America. Notice though how the tune shifts in
tone - from an amusing social whirl to the poignant on-board shot of Etta and
the Kid dancing while Butch sits brooding on their fate at the side - before grinning at it all. He’s not short of
insane optimism for long. This montage along with the gorgeous multi-movement harmonic
‘ba-ba-ba’ piece for the Bolivia bank-heists later were designed not just to
quickly expedite the story; they purposely add to Etta’s involvement in the
boys’ lives - more at stake for them to lose by the end. This is wonderful
economic story-telling by great talents.
By the time Butch and the Kid get to the dilapidated
Bolivia, we know it’s just a matter of time before their crimes catch up with
them. The ‘Banditos Yanquis’, equipped with Etta’s attempts to teach them basic
‘professional’ Spanish, soon fall foul of local thieves when delivering payroll
for the great ‘colourful’ Strother Martin. Knowing they have to kill the Bolivians to
regain the money and live, Butch reveal his own secret: he’s never killed a
man. The cold-blooded killing of the thieves is given due pause for grim
reflection amidst the settling dust.
Ultimately, Butch and Sundance are cornered in the
iconic marketplace climactic shoot-out, precisely filmed by Hill with meticulously
prepared storyboards. By the time they lie wounded and resigned to going out in
blazing abandoned style, we’ve become immensely fond of them. Butch has time
for one last outlandish scheme - to head to Australia - before they rush out
and are immortalised in that famous anti-heroic freeze-frame of defiance.
Watch BUTCH CASSIDY AND THE SUNDANCE KID for a classic
film of sensational writing, wonderful performances, sensitive directing,
superb camera-work and all-round brilliance. Hollywood modern art is not an
oxymoron.
No comments:
Post a Comment