Wild Rovers

This nearly forgotten 1971 western drama from the late Blake Edwards was reportedly butchered by MGM, but eventually restored to road-show length by the director and is now available via the Warner Archives. “Wild Rovers” stars craggy William Holden and fresh-faced Ryan O’Neal as a pair of cross-generational buddies who have come to recognize why mommas shouldn’t let their babies grow up to be cowboys. Their not-smart solution: become wealthy bank robbers. The likelihood of tragedy grows even greater when their rancher boss (Karl Malden) sends out his loutish sons (Tom Skerritt and Joe Don Baker) in hot pursuit of the men who looted his payroll.

Edwards was a master of sorts, but on his first western as a director he tries much too hard to both pay homage to and outdo the competition. We have Howard Hawks-like dialogue scenes that go on forever, epic vistas shot in John Ford’s Monument Valley, and a few lifts from Sam Peckinpah. Blood squibs go off and characters writhe in slow motion a la “The Wild Bunch”; a lyrical montage about breaking a wild horse goes on and on like an outtake from “Major Dundee” or “The Ballad of Cable Hogue.” Considering the presence of “Wild Bunch” star William Holden and Edwards’ tendency to gentle wit, it’s impossible not to make the doubtless often repeated quip describing “Rovers” as “The Mild Bunch.” The problem, however, is not too much copying or excess affability, but Edwards’ undisciplined screenplay. It leaves an outstanding cast, and one of Jerry Goldsmith’s best scores, twisting in the wind like a horse thief on the end of a rope.

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Mystery Science Theater 3000: Volume XIV

Need further proof that Shout Factory rocks? No, of course, you don’t, because they’ve proved themselves dozens of times over by now. But at the very least, let’s give them a shout-out for not only taking over the release of “MST3K” DVDs but also not wasting time between releases. They started the ball rolling in November, with the show’s 20th Anniversary Set; now, it’s less than three months later, and we’re already being gifted with “Mystery Science Theater 3000: Volume XIV.” Better yet, it’s as if the producers of this new collection took the comments in my review of the anniversary set to heart, since the selections on “Volume XIV” are split straight down the middle: two from the Joel Hodgson era (“Mad Monster” and “Manhunt in Space”), two from the Mike Nelson era (“Soultaker” and “Final Justice”).

The big win here is unquestionably “Soultaker,” which not only stars Joe Estevez (who also featured in the last set’s “Werewolf”) but also features the return of both Joel and TV’s Frank for guest spots. Still, you can never go wrong with a Joe Don Baker film, so there’s much to be said for “Final Justice” as well. As for the Hodgson-era flicks, it must be said that any chance to take a trip in the wayback machine and experience some seriously old-school “MST3K,” and “Mad Monster,” which is from the show’s very first season, fits that bill perfectly. “Manhunt from Space,” from Season 3, is equally classic, with the film’s cheesy sci-fi effects inspiring references to everything from the B-52s to “Gamera.” Shout Factory has also come through with some nice bonus material: new interviews with Joe Estevez and “Final Justice” director Greydon Clark (both of whom are really good sports), the original trailer for “Mad Monster,” and a clip of Mike, Tom, and Crow appearing on ESPN Classic’s “Cheap Seats without Ron Parker.” Yep, it’s another great set all around, fans. Go forth and buy it.

Click to buy “Mystery Science Theater 3000: Volume XIV”

  

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George Wallace

This review will appear on the very same day an African-American man will become President of the United States. While the media is constantly reminding us of the historic nature of that fact, what many younger readers may not realize is that only three and a half decades back, a man running on a more or less openly racist, and specifically anti-black, platform was a serious candidate for President — running in the very same Democratic party that would eventually nominate Barack Obama for the highest office on earth.

“George Wallace” is a savvy and darkly engrossing, if often slow and heavy handed, television biopic that takes a circuitous path in tracing the long career of the despised and beloved four-term Governor of Alabama and four-time Presidential candidate of various parties, George C. Wallace (Gary Sinise). We first meet Wallace in 1972 as the avid, middle-aged husband to a beautiful and very sexy young wife, Cornelia (Angelina Jolie). At the same time, a racist state trooper forces Archie (a “composite” character played by Clarence Williams III), a convicted killer and Wallace’s trusted African-America valet, to wear handcuffs at his mother’s funeral.

George Wallace

After his fateful encounter with four bullets that day, we meet Wallace again as the younger and far more liberal political protégé of anti-racist populist governor “Big Jim” Folsom (Joe Don Baker). Though Wallace is a skirt-chasing, semi-absentee father and husband to his steadfast wife, Lurleen (Mare Winningham), the real darkness only comes four year later when Wallace is defeated in his first gubernatorial bid by an opponent supported by the terrorist Ku Klux Klan. Seeing no alternative – losing an election is equivalent to losing his life – Wallace swears that he will “never be outn*ggered again.” He is true to his words and, within a matter of years he is the nation’s most notorious racist pol, blocking the doors of the University of Alabama rather than allowing a pair of black students to enter and “mix” with white students, and uttering his most quoted line: “…I say segregation now, segregation tomorrow, segregation forever.”

“George Wallace” is a look at history from the side of a well-deserved loser, and for those portions of the picture where director John Frankenheimer takes a dispassionate, even satirical (though deadly serious) approach, it is strong stuff and very much in line with the liberal director’s professional and personal legacy. A genius at creating smart political thrillers, and a participant in history himself as the man who drove Robert Kennedy the Los Angeles hotel where he was assassinated, the director – never a grandstander – allows himself to directly reference his own past via recreating one of his signature shots.


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