Showing posts with label Sydney Pollack. Show all posts
Showing posts with label Sydney Pollack. Show all posts

Wednesday, July 20, 2016

Jeremiah Johnson

A Mexican-American War veteran (Robert Redford) drops out of society and heads for the Rocky Mountains where he takes tutelage from a proven fur trapper (Will Geer) and soon finds himself living happily off the land with an Indian wife and adoptive son. When the U.S. Cavalry officer persuades him to lead an expedition over sacred burial ground, the Crow people retaliate by slaying his newfound family, leading to a one man showdown between the tribal nation and the fabled frontiersman. Drawn from the true to life story of John Johnson by Raymond W. Thorp in his novella Crow Killer, Sydney Pollack's meditative mountain man saga lacks a sense of urgency although there is something appealing about a contemplative modern western. This somber mood of the film also makes the sudden, unexpected, and well edited bursts of violence all the more effective. Impeccable Utah locations and flavorful supporting characters are a major asset, and with regards to Redford's performance, it is remarkable that throughout his career he was continually able to make these one dimensional, quietly masculine good guy personas so compelling.
*** out of ****

Thursday, September 5, 2013

Three Days of the Condor

A nerdy reader for the CIA (Robert Redford) steps out of his mundane New York City office for lunch and returns to find all of his coworkers brutally executed leaving him, an agent so hapless he's not even sure of his code name or how to tell military time, to untangle the conspiracy before suffering the same fate as his coworkers. From a spy novel by James Grady (whose Condor had three extra days), Three Days of the Condor is an intense thriller and another entry in a series of fine collaborations between Sydney Pollack and Robert Redford, the latter whom offers his expected moralizing in a nonetheless compelling performance. Max von Sydow and Cliff Robertson are likewise excellent in supporting roles. The picture has an armrest-gripping beginning and conclusion, which makes it all the easier to forgive a few missteps in its middle.