Mubi Monday: The General (1998)

Directed by the great John Boorman (who has also given us a number of not so great movies, but his wins far exceed his losses), The General tells the story of the life of Martin Cahill, an Irish criminal who spent a long time avoiding and frustrating the Garda throughout the 1980s and early 1990s. The fact that he is played here by Brendan Gleeson ensures that viewers are unlikely to hate him.

Things start off well enough. After being in and out of trouble from a young age, Cahill is shown steadfastly refusing to move from a site that has been scheduled for demolition. His reasoning? He wants a better choice of alternative accommodation, and he gets it. Good for him. But we soon see the other side of Cahill, the man happy to rob, threaten, and beat anyone he views as a target. He will depositing thousands of pounds into a bank account and then visit a local police station to have an alibi while his cronies rob the bank and get his money right back to him. He will wave guns under the noses of people, he will plant bombs to potentially kill professional witnesses, and he will even nail someone to a snooker table if he thinks they have been skimming profit from him. Meanwhile, his home life is a non-traditional, but happy, set-up with Frances (Maria Doyle Kennedy) and her sister, Tina (Angeline Ball), as well as the children he has fathered with each of them.

Although black and white when it was shown in cinemas, I saw it presented a visual palette so muted that it often seemed as if it was in black and white anyway, but the occasional patches of colour managed to catch the eye (particularly the aforementioned snooker table). Not being utilised for any big “wow” moments, the cinematography and colour (or lack of colour) simply keep viewers more easily in the time and place alongside the characters.

Boorman, adapting the book by Paul Williams, as well as including a reference to the time he himself was robbed by Cahill (a gold record stolen from his home), does a decent enough job at showing the criminal operation, as well as showing the continuing efforts of the police trying to get their man. Where he falls down is in the tone of the film, making Cahill a loveable rogue for most of the runtime, instead of the callous and opportunistic criminal that he was. I am all for any kind of “Robin Hood” character, but that’s not what we see here, although maybe those romanticising his life want to see him that way.

Gleeson surely relished this role, a perfect fit for him and one of his best lead roles (which is saying something). Whatever problems I may have with the material, Gleeson is faultless. He’s given great support from Kennedy and Ball, who are both allowed to feel like more than just “daft wee wimmen”, and there are good performances from Adrian Dunbar and Sean McCginley, as crooks, and Jon Voight, as the main cop butting heads with Cahill. Yes, Voight’s accent is far from perfect, but it’s surprisingly not all that bad for most of his scenes. Not bad at all.

It’s really hard to rate this. There were so many moments I really enjoyed, partly BECAUSE Boorman and Gleeson work hard to keep Cahill such a cheeky charmer, but the moments that troubled me, moments of violence and nastiness that were moved past all too quickly, helped to build up a bitter taste that I couldn’t rinse away, even hours after the film had finished. Maybe many people view Cahill the way that Boorman depicts him, and maybe I would be feeling different if this was some Scottish criminal I had grown up knowing, and viewed as a bad person who also did some good things, but the film errs in maintaining an apparent lack of judgement.

As a film, it works brilliantly. As a film about Cahill, it doesn’t do so well.

7/10

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The Muppet Movie (1979)

There's no easy way to put this, sometimes I was very stupid in my youth. That would often take shape in obvious ways (such as swinging on that rope "tarzan" that was on a branch too weak to hold my weight, leading to me being dropped into a river while fully clothed, spending the rest of the day desperately trying to dry off before I reached home, and the potential wrath of my mother) and sometimes it would take shape in ways I didn't even realise until now, such as my opinion of The Muppet Movie.

I've always loved The Muppets. Always. I mistrust anyone who doesn't. And a lot of their feature films are wonderful, from this first outing up to the most recent, Muppets Most Wanted. But wonderful doesn't necessarily mean great, it can just mean enjoyable and comforting. Because they all star The Muppets. Which is all a way of saying that, for some reason, I always viewed The Muppet Movie with affection, yet also thought it was a bit . . .  dull. Maybe I had been spoiled by the hectic and energetic episodes of the TV show, maybe I was victim to my youthful inability to remain engaged by films that weren't hurtling non-stop from one impressive set-piece to the next.

Whatever the reason, I was wrong. This is a fantastic film that takes a simple premise - the tale of how the gang got together - and uses it to link together some enjoyable songs, loads of gags, and a smorgasbord of celebrity cameos. There's also a plot point about a villain named Doc Hopper (Charles Durning), and his right hand man (Austin Pendleton), who wants Kermit to become the face of his restaurant chain, one that sells a menu with frogs legs as the main draw.

It's very hard to find fault with this, a film that manages to both capture the heart of the show and also shows the creations in slightly different environments and ways (e.g. it's always odd to see Kermit's legs). It helps that most of the celebrity cameos are from some of the biggest names in comedy (Richard Pryor, Steve Martin, Bob Hope, Madeline Kahn, Mel Brooks) and some of the biggest names, period (Telly Savalas, Elliott Gould, Cloris Leachman, and a final surprise that proves extra delightful for film fans).

The songs, by Kenny Ascher and Paul Williams, are catchy, the jokes are wonderfully daft, and it's all as sweet and endearing now as it was when first released four decades ago (even if the stupid child version of me didn't fully recognise that).

If you're a fan of The Muppets then this is one to watch and rewatch whenever you need your day brightened up. If you're not a fan of The Muppets then, well, I don't know how to help you.

9/10

This set is available here.
Americans can buy the same set here.

Smokey And The Bandit 3 (1983)

It's a shame when people just can't leave things be and end up diluting something that was, if not great, at least very enjoyable. At this time of writing there have been 3 cinema releases with the Smokey & The Bandit name attached and a number of TV movies (that I haven't been brave enough to track down and endure yet). But things should have been left alone after the first two movies.

This third outing decides to focus on Sheriff Buford T. Justice (once again played by Jackie Gleason) and his son (once again played by Mike Henry). The sheriff is due to retire but finds that the relaxation and lack of challenge doesn't really suit him so he ends up accepting a challenge from Big Enos and Little Enos (Pat McCormick and Paul Williams returning) that involves getting from A to B within a certain time limit. There's $250, 000 to be won but if the sheriff loses he has to hand over his beloved badge. Of course, as soon as the sheriff sets off on his journey the dirty tricks begin.

Directed by Dick Lowry, and written by Stuart Birnbaum and David Dashey, this movie just lacks any of the charm of the first two movies and really becomes nothing more than a few car chase sequences with little to no real reason for them and with the premise that unfolds I don't blame anyone who watches the movie and actually feels cheated. Because it IS a cheat. Okay, detractors of the first two movies may easily dismiss those as nothing more than a few cas chase sequences with little to no real reason for them either but I'd argue that those movies had a little bit more going on beneath the surface. Well, the second film certainly did. And there was real warmth and affection there. Sadly, this film feels like the cynical cash-in it so clearly is.

Jackie Gleason is enjoyable enough once more, as is Mike Henry, but nobody else really fares all that well. The antics of Big Enos and Little Enos seem pointless and irritating, Jerry Reed returns but you can't help feeling that he should have stayed away from this outing. And Burt Reynolds makes a very brief appearance, most of it in flashback form. Colleen Camp is an enjoyable female presence, it's a shame she didn't get better material to work with.

If you love the first two then you may feel the urge to see this one but I ask you to battle that urge and hold on to the first two movies as THE definitive adventures of Smokey & The Bandit.

4/10

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Smokey And The Bandit II (1980)

I know that I can often be sarcastic in my reviews. I can also sometimes be apologetic. There are moments of anger and occasional moments of rambling nonsense (okay, let's be honest, there are more than occasional moments of rambling nonsense . . . . . . . . . it's actually my preferred writing style). But I hope that people don't mistake the following for sarcasm or nonsense or even something that I'm going to apologise for. Smokey & The Bandit II is a bloody good movie, slightly superior to the first film and just a whole load of laughs in the company of great characters.

All of the main characters return, though not in exactly the same condition. Burt Reynolds is The Bandit, Jerry Reed is Cledus AKA The Snowman, Sally Field is Carrie AKA Frog, Jackie Gleason is Sheriff Buford T. Justice and Mike Henry is the witless Junior. Even Big Enos (Pat McCormick) and Little Enos (Paul Williams) return, if only to start things off with a job offer. Nobody wants alcohol moved this time. It's something much bigger than that. And much livelier.

Hal Needham is back in the director's chair and actually shows some skill he would seem to have hidden away for the majority of his career. The car stunts and action are, as you would expect, competently handled but this has a lot more to it than JUST fast cars and a load of chuckles.

The Bandit enjoyed showing off, he loved doing what he was best at, and he was/is very famous because of it. But that fame has changed him in ways that he doesn't want to inspect too closely and certainly doesn't want to admit to. He's been surrounded by the adoring fans, he released the unsuccessful song, he was a name synonymous with legendary deeds. And then he wasn't. The Bandit is stuck in a sad place, wanting to reclaim former glories while random people feel the need to tell him just what an asshole they think he is. And when he grabs an outspoken guy to try and show him the error of his ways, holding the man by the collar and insisting that he is an American sweetheart and a lovely guy and that everyone loves him, it's hard not to think of the reaction that any famous person can have when the fame, and the fandom, starts to dwindle. It's hard not to think that The Bandit is voicing something every actor could be tempted to yell out at one point. In fact, it's hard not to think that The Bandit is just saying something that Burt Reynolds himself may have felt at one time or another.

Perhaps I'm reading too much into the whole thing. Everything else in the movie is just fantastic, simplistic entertainment. Jackie Gleason, once again, gets all of the best lines and moments as the exasperated sheriff. Reynolds, Reed and Field all get on well and are joined by Dom DeLuise, giving a fun performance. And there's a finale that puts The Bandit in the heart of a scenario he almost yearns for before showcasing some truly excellent stuntwork with cars and big trucks. Many of the bigger stunts are "gags" but they're still impressive and you get a real feeling of danger from this mad display of demented driving. It was great to watch when I was a young lad and, although I had my reservations, it's just as great to watch now.

8/10

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Smokey And The Bandit (1977)

I don't think it's unfair of me to start this review by saying that Hal Needham isn't really a great director. His background in stunt work showed through more than any technical aptitude or eye for any great moments of pure cinema but I also don't think it's unfair to say that he created some filmic fun while having plenty of laughs with regular star Burt Reynolds (who takes the lead in this movie, the sequel, the two Cannonball Run films and also Hooper). Smokey And The Bandit kept me entertained when I was a lad and my tastes were simpler and unrefined. It's a crude, juvenile film moving from one car stunt to the next and yet it remains entertaining in a way that makes you remember how you piled up all of your toy cars as a kid and got shouted at from your parents when they stood on a displaced wheel or side door.

Burt Reynolds is The Bandit, aided and abetted by his mate Cledus AKA The Snowman (Jerry Reed). The Bandit has accepted a bet to pick up and deliver a trailer full of beer over county lines within a pretty tight time limit. He will distract the police and scout ahead while Cledus drives the truck. Things get trickier when The Bandit picks up a runaway bride (Sally Field) and doesn't realise that she is being pursued by the jilted groom (Junior, played by Mike Henry) and, more importantly, his father (Sheriff Buford T. Justice, played brilliantly by Jackie Gleason). It's full pedal to the metal as The Bandit and The Snowman (with Frog now in their group) try to stay one step ahead of every Smokey on the route.

When I was a young lad the things I liked about Smokey & The Bandit were the following:
1) The Pontiac Trans Am, which (I thought at the time) was the best, coolest, fastest car ever.
2) The banter between Reynolds, Reed and Field.
3) Any scene with Sheriff Buford T. Justice being made to look foolish and berating his dumb son.
4) The dog that was sharing the truck cab with The Snowman.
5) The car stunts.
6) Little Enos (Paul Williams) and Big Enos (Pat McCormick).

But now I'm older, a man of the world with different tastes and an appreciation of finer cinematic fare. So, is there anything to like about it now? Well, the direction by Needham and the script, based on a story co-written by Needham and then developed by a few different folk, remain as disposable as I thought they were before I'd reached my teens. Yet the rest still works. I still love the car, though I now realise that it's not the best, coolest OR fastest. The banter is still fun. Sheriff Buford T. Justice is still a highlight, though I have no idea who the hell came up with lines like the following: "There's no way, no way that you came from my loins. Soon as I get home, first thing I'm gonna do is punch yo mamma in da mouth!"
The dog is still sweet, the car stunts are still enjoyable and sometimes impressive and the interaction between Little Enos and Big Enos is still amusing.

Which means that, all in all, I still enjoy Smokey & The Bandit for all of the same reasons that I used to enjoy it. It's held up surprisingly well, better than The Cannonball Run (for example), and remains a fun chase movie with Burt being a superstar and the stuntwork with cars, bikes and big trucks making up most of the better moments.

7/10

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