DVD The Chase

My other complaint is also with the director, Arthur Penn. Someone else should have directed this thing--don't ask who, maybe someone like Kazan (who reportedly turned it down).

First saw this thing in the sixties in Chicago as a teen, and the damn picture, or rather the Brando character stayed with me all these years. He plays a decent man trying to do the right thing in a rinky-dink redneck Texas town, does his best to protect the Reeves character from the moronic townsfolk who are eager to "lynch" him without a trial even.

Checked the DVD out the night BEFORE Brando passed away, not sure why, just to see if the flick had withstood the test of time. Well, as you know, Brando passed on the very next day...and it left me, as it did so many others, plenty bummed out. I doubt we'll ever see another like him. So many actors try to duplicate what he did (and so often it is in your face obvious and pathetic) and all it does is makes you ache for the original (in order to take a second look at what the real thing was like.) This is why I had rented the DVD, as well as others over the years with Brando, because most actors don't even come close.

Anyway, I gave The Chase four stars, felt about it as I did back in the 60's: Brando great, but the telling of the tale troubling ( maybe over the top/over-produced; too much plot for what should have remained a far simpler story).

I'll say it again: should have never been made on fake studio sets. The writers tried to do too much with too many characters, etc. Probably would have worked better had it been shot in black and white, the way they did with The Last Picture Show (and they would have had a better movie than the vastly overrated Last Picture Show.)

See it for Brando as Sheriff Calder. The gifted Marlon Brando lives on.

This film almost works: there's strong support from EG Marshall as the oil tycoon, Angie Dickinson as Brando's desperate wife, Robert Duvall as wimpish bank-officer who helped send up "buddy" Redford in the first place, a wacky Mirian Hopkins playing the scary middle-aged hag she did so well. And there's John Barry's always atmospheric music score which adds dignity to it all.

But this film is also well-known for behind-the-camera squabbles between the director Arthur Penn, screenwriter Lillian Hellman and the money-guys regarding the script (among other things, Hellman allegedly wanted to make some social statement by making allusions to Texas oil corruption and JFK's still-recent assassination). What's left is a semi-soap about cultural mores in a rural Southern town [or Hollywood's mid-60s version of such] more notable ultimately for the cast, the mood and sense of "hovering" about the film, and a distinct feeling it wants to say something or go somewhere it never quite does.

Still worth a peak.