Papillon

Dir: Franklin J. Schaffner, 1973. Starring: Steve McQueen, Dustin Hoffman. Drama.

After his death, Steve McQueen reached rebel-cool icon status based on his off-screen machismo (racing cars and motorcycles, martial arts with Bruce Lee, stealing Robert Evans’ wife) and partly on his actual film resume, which in retrospect isn’t as great as you would expect. His peak years start in ’63 with his one masterpiece, The Great Escape (he did the overrated but still influential Western The Magnificent Seven a few years earlier), a couple of big hits that now feel more like remake-bait time capsules (The Thomas Crown Affair and The Cincinnati Kid), and of course there is also Bullitt, largely famous for its amazing high-speed San Francisco auto chases. But for the most part the late sixties were rounded out with forgotten melodramas (Love with the Proper Stranger, Baby the Rain Must Fall and The Sand Pebbles). The early seventies include a couple lesser collaborations with Sam Peckinpah (Junior Bonner and The Getaway) and the super cast/super dud The Towering Inferno. But besides appearing as himself in the Oscar-winning motorcycle documentary On Any Sunday, McQueen’s best film since The Great Escape is the epic Papillon, a film that has been written off by some as overly long and cold. But for my money it’s one of the best prison escape movies ever, as well as an eye-opening look at worlds I knew little about. (ALSO OF NOTE: I first saw it as a very young kid, in its second run at a drive-in, and there are some moments of violence that then confused me, but have stuck with me ever since.)

Based on the questionable autobiography of French petty criminal Henri “Papillon” Charrière, (played by the very American McQueen and shot in exotic locations all over the world) the script is credited to blacklisted legend Dalton Trumbo (Spartacus) and Lorenzo Semple Jr. (one of the creators of the '60s Batman TV series). The film begins in pre-WWII France with Papillon and other convicted criminals being marched through town and on to a boat to be shipped off to a French penal colony work camp. On the long and brutal ship ride, Papillon strikes a deal with a wealthy and rather famous forger, Louis Dega (Dustin Hoffman in full nebbish mode), for protection. With a promise to keep the meek embezzler alive, Dega will finance any escape attempts. Through the course of time, the two strike up an unlikely friendship (a prison adventure Midnight Cowboy). The film covers years in swampy, tough malaria-plagued conditions, finally ending on the infamous Devil’s Island. The film is loaded with wonderful set pieces, including long and short escape attempts, a leper colony, sadistic guards, creepy prisoners, solitary confinements and lots of double crosses (even a nun stabs Papillon in the back). It’s a survival saga and a friendship story, though the survival aspect is the highlight.

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Posted by:
Sean Sweeney
Mar 5, 2015 11:18am

The Russians Are Coming, the Russians Are Coming

Dir: Norman Jewison, 1966. Starring: Alan Arkin, Carl Reiner, Eva Marie Saint, Brian Keith. Comedy.

Written by William Rose, who was also responsible for the loud, brash and big It’s a Mad, Mad, Mad, Mad World a couple years earlier (as well as the overrated Guess Who’s Coming to Dinner), The Russians Are Coming, the Russians Are Coming is also a big ensemble comedy, but much better executed and focused than his previous script, with more heart and less mean-spiritedness. It also helps that it has a very able director at the helm, the nearly forgotten Norman Jewison, whose socially-conscious films still hold up (In The Heat of The Night, A Soldier’s Story, The Hurricane; The Russians Are Coming could also be considered part of that group). He had a number of films which were popular and respected in their day (The Cincinnati Kid, The Thomas Crown Affair, Fiddler on the Roof, Agnes of God, Moonstruck) and some fascinating curios (Jesus Christ Superstar, Rollerball and F.I.S.T.). He falls into that group of directors who emerged in the sixties like Arthur Penn, George Roy Hill, John Boorman and John Schlesinger who had a lot of acclaim and made some classics, but never became brand names like Polanski and Coppola, or even to a lesser extent Mike Nichols and Sydney Pollack. Jewison has as many solid films as his peers, though looking back none reach that same level of transcendence as a Bonnie and Clyde, Midnight Cowboy or Deliverance. For my money, though many would disagree, The Russians Are Coming, the Russians Are Coming is his film that holds up best today.

Based on a novel by Nathaniel Benchley (whose son Peter wrote the novel Jaws), set in a little New England beachy island community (very similar looking to that one in Jaws, though surprisingly actually shot in Northern California), where a Russian submarine gets stuck in a sandbar, leading to havoc in the town. This was a few years after the Cuban Missile Crisis, so this was the height of cold-war hysteria (think Dr. Strangelove), so even just having likable Russian characters was enough to make this film subversive to some. The film has dozens of characters, with top character actors of the day in peak form.

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Posted by:
Sean Sweeney
Jun 17, 2014 2:09pm
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