The Reivers (1969)

I love this movie so much

Just so...so bad

Good concept, poorly executed.

It's entirely possible that sending the audience out feeling lousy was intentional

Steve McQueen tools around in a classy car, dodging bad guys, loving the ladies, and not giving a cuss. This may read like your typical 1960s effort from him, but that's something "The Reivers" ain't.What is it? I guess it can be summed up as a broad coming-of-age comedy set in the American South in 1905, featuring a boy named Lucius (Mitch Vogel) who, against his better judgment, sets off with a couple of older-but-not-wiser friends in his grandfather's stolen automobile to visit the wicked city of Memphis. In no time he is holed up in a local bordello, trying to help win back his grandfather's car in a desperate horse race.At the center of Lucius's worries is the man who talked him into the whole adventure, Boon Hoggenbeck, who wants the car to impress one of the pretty Memphis prostitutes he has set his cap on. "He knows no obstacles, counts no costs, fears no dangers," Grandpa (Will Geer) warns young Lucius of Boon.Okay, that does sound like McQueen the way Gramps put it there. But McQueen's Boon is more of an overgrown boy than stolid icon. A bucolic coming-of-age comedy based on a William Faulkner novel, "The Reivers" seems McQueen's attempt at stretching out from action-hero mode. He's quite a bit of fun with his sometimes outsized comic reactions, a bit old for the part but certainly a capable center in what amounts to his first ensemble piece since "The Great Escape."Director Mark Rydell made life-affirming American-heartland flicks that celebrate homey characters and downhome values, and "The Reivers" certainly fits his oeuvre. He is abetted wonderfully by the sunny lenswork of Richard Moore and a graceful, jaunty score by John Williams. In its elegiac, serio-comic tone, it is a lot like the film McQueen chose to make this over, "Butch Cassidy And The Sundance Kid."More a situation than a story, "The Reivers" introduces us to a shifting cast of characters and lets each spend some time with the viewer. Some leave stronger marks than others.Rupert Crosse leaves the deepest impression as Lucius' distant black relative Ned, who drives Boon crazy asserting his rights as a member of the McCaslin family by virtue of a great-grandfather who impregnated a slave. Ned is a proud man who likes to push his point beyond the bounds of reason, stowing away on Grandfather's car when Boon and Lucius make their Memphis trip."If I wait until I'm invited I'll never will go anywhere," Ned points out when Boon tries unsuccessfully to toss him. Ned is the agent provocateur in "The Reivers," somewhat dangerous in his ways but valuable, too, played with a vulnerable, humor-filled grandeur by Crosse, who got an Oscar nomination for his work. You laugh more with him than at him, but it's a bit of both.Where "The Reivers" goes a little wrong is with some of the other characters. Sharon Farrell is the proverbial prostitute with a heart of gold who bonds with Lucius, while other smaller parts are filled by memorable character actors who get little to do. "We were a pleasant and courteous people, tending to our business," Burgess Meredith explains in the voice-over narration, and often they seem a bit too much of just that. Even the bad guys, like a racist sheriff played by Clifton James, seem a bit toothless and too-easily- handled.Still, I enjoyed this film, if more around the margins than in the main. It's not unusual to see McQueen wielding a pistol, but it is to watch the target josh him about his lousy aim between shots. Aided especially by Crosse and Vogel, "The Reivers" isn't maybe as wise or knowing as it tries to be, but does leave you with a warm and fuzzy feeling that doesn't stale with repeat viewings. A sleepy charmer, it shows even a king can make for a capable jester once in a while.

It's hard to believe Steve McQueen turned down the roll of Sundance in Butch Cassidy and the Sundance Kid simply because he would have been billed second behind Paul Newman. Oh the enormous egos of Hollywood. Instead, he accepted this film which is rather forgettable judging by the lack of reviews on IMDb.He constantly fought with the director, walked off the set, and even demanded the director be fired from the project. The studio refused. Ego somewhat back in check Steve finished the film.It's a simple coming of age story based on the Pulitzer prize winning novel by William Faulkner. Plenty of character actors do their best to carry the load but it's ruined by McQueen's constant overacting.A couple of highlights were the early score by John Williams and the excellent photography, but neither were enough to give this anything better than a so-so rating. Best to read the book instead.

Based on Faulkner's novel, this picaresque comedy-drama is set amid those carefree days of early 20th century when an 11-year-old boy could get his education at a cat house and it was OK to give a woman a black eye if she got out of line. It's meant to be a tender coming-of-age story and a genial comedy for the whole family, but this uneven film is too vulgar at times and the humor is forced and generally unfunny. McQueen does OK but appears to be too old for the role of an immature rabble rouser. Vogel is quite good as the young lad who is exposed to the seedy aspects of life at too early an age. Crosse's character is such an idiot that he's rather annoying.

The making of "The Reivers" in my home town of Carrollton, Miss., made a lasting impression here -- just as the film itself did upon the memories of those of us who have seen it time and again. Now, with the DVD out in 2005, hopefully many, many, more will get to see Mark Rydell's wonderful romp! I recently wrote an interview with our current mayor, who talked about the filming; what fun so many of us had being extras. She was an extra in a scene of people having a picnic; this scene was filmed on River Road in a neighboring town to the west of us, Greenwood, Miss. Having "The Reivers" actually set in small town Mississippi was a great touch. The screenplay, the music, the editing, direction, combine with William Faulkner's original tale to keep the beckoning finger to future generations, too.