L'Ultime Randonnée

As a 17 year old Arizona motorcycle racer, I had the privilege of working as an extra/ stuntman on the racing scenes in this movie, so I'm somewhat biased about the quality of this feature. It IS schmaltzy and VERY early 70s in its content and cinematography, but it paints a GREAT picture of what it was like to race motorcycles in the early days of American motor sports (back when no one but the Europeans EVER won anything!). Before Supercross, before motor sport superheroes when us folks that rode motorcycles were known as LESS than desirable, and no one ever called us athletes.

So, from a historical perspective, or just to see ME as a 17 year old tearing around a couple dirt tracks and out on a desert run aboard a hot Yamaha, I feel this movie can't be beat. It'll never take the place of such greats as On Any Sunday or On Any Sunday 2, but it's still a worthwhile 99 minutes of lighthearted flashbacks for anyone that lived through those times, or those that wish they had.

Oh, and Robert Redford wasn't too bad either...

John in AZ

This was a great movie if you were a kid growing up around motorcycle racing. I was just 14 when this movie came out. I went to the theater to see it because I had heard it was about motorcycle racing. It was great! It captured the eccentric attitude of racers in general and was really very accurate as to the characters one could find in AMA racing. "On Any Sunday"! We would trailer our bikes all over the northeast to any race we could find. Enduros, motocross, flat-track, scrambles... whatever was going on, we'd go! Change tires, fenders, or what ever we needed to do to the bikes and take off. Great movie and great times! when you were involved with the racing scene, you got to know the other regulars that would show up at the various races and there were the personalities found in the movie. Every one knew a Halsey! Most of us were more Fauss, however. we were more interested in riding and tuning than partying and chasing skirts! This movie is one of the only movies I actually searched for and purchased just so I would have it as the years go by.

Saw this in the drive-in back in '71 and thought it was pretty good! Saw it again on Speedvisions "Lost Drive-in" some time ago but some of the scenes were "edited for TV". I don't believe it was ever released on video...too bad!

When Alex Cox used to present the BBC's cult film strand Moviedrome. He boasted that you will not find films from the likes of Robert Redford here.

Little Fauss and Big Halsy would had been tailor made for Moviedrome. It is a cult obscure film. It was made just as Redford was on the cusp of superstardom.

Redford plays Halsy Knox a braggart. A small time womanising motorbike racer and petty crook always looking for his next buck. Halsy can race but he does not have temperament or the mechanical knowledge to be a winner.

Halsy meets Little Fauss (Michael J Pollard) a mechanic who wants to be a racer. He just cannot stay on his bike when he goes fast. His parents are oafs and Fauss is shy with a child like innocence. He has no friends.

Fauss hooks up with Halsy, he tunes his bikes and Halsy races, they even make some money. Fauss soon sees through Halsy's tall tales and his womanising. Halsy always hooks up with a floozy who hangs around the races.

Fauss is upset when Rita Nebraska (Lauren Hutton) who came across them running totally naked before a race, falls for Halsy even though she is aware that he is shallow and unreliable.

There is an element of the counterculture in this movie. There are several songs from Johnny Cash. There is full frontal nudity. It is an atypical Redford film, he is a chancer with no redeeming features. He appears half naked for most of the movie, shirtless and showing a long scar on his back.

There are hints of homoeroticism. One male photographer at the beginning of the movie is more interested in photographing Halsy's bronzed torso.

Fauss grows up as a person with his time with Halsy. He becomes a better racer and he also gets to have sex with one of Halsy's cast offs. He also tries to leave them in the same way as Halsy by sneaking away early in the morning.

The main difference is Fauss still remains a better person. This comes up when he talks about being drafted to the army, Halsy then reveals how he got his scar on his back.

Little Fauss and Big Halsy is a small scale character piece and part road movie. Robert Redford was interested in flawed people. A year before this he played an Olympic skier in Downhill Racer. His character was selfish who was only interested in winning gold.

In The Great Waldo Pepper made in 1975, Redford played a stunt pilot who told tall tales of his exploits in World War One. The box office failure of that film meant that Redford stuck with mainly heroic parts. Only as director would he examine the darker side of the American dream.

Director Sidney J Furie has made an offbeat and meandering look at Americana. The script is too thin and also predictable. Furie pumps it up with the race scenes.

The title of Sydney J. Furie's little, forgotten film intrigued me, and I made sure to see it on ABC way back when, about 1975. I could tell it was an R-rated movie that was edited for TV, but the movie felt fresh and thoughtful. There was so much I didn't comprehend about the story of a narcissistic heel and an insecure but driven-to-win mechanic who cross paths on a motorcycle racing circuit. Robert Redford (Halsey Knox) and Michael J. Pollard (Little Fauss) have little in common except that Halsey is a low-life manipulator in whom Little sees a chance to get out of Heat Rash, Oklahoma, and win some trophies.

Redford, a man who became very famous by being a charming bank robber/mountain man/CIA employee/Barbara Streisand's ex is a thoroughly believable heel. He slithers through lying and thieving effortlessly. He wanders around without a shirt, glib and facetious, ordering Little to do this and that, and throwing Fauss' insecurity with women in his face when they pick up a bike bunny (Lauren Hutton). It's instant love for Little, instant sex for Halsy, and it leads to Little calling his partnership with Halsy quits.

He wonders back to Mom, and Dad has passed on. All the best things that are in Little are on display when he takes up racing again, practicing and practicing, with Momma sucking down dust with a stopwatch in her hand. You can see the scar Halsy left on him, and he deals with its pain by exhibiting determination.

Then Halsy arrives, and because Little is weak, he throws in, again. Hutton is pregnant, and Redford's character has so little good in him that he simply dumps her at the hospital.

I think the kid got the better half of that deal.

Our two boys are racing now, competing against each other. Little has the confidence he lacked earlier. Halsy will always be the winner of a participation ribbon. And the saddest part of the movie is how Halsy's lack of good character changes the face and behavior of who he sees as his protege.

I thought this movie was much better than many of the reviews I read. It's clearly a flick that is designed to play off Redford's growing popularity. What Furie gets right is that, although Robert Redford's Big Halsy is the powerhouse on screen, the viewer might be more interested in Michael J. Pollard's performance. The balance of the two personalities on screen makes for a darn-fine tension. Pollard played many a wimp, but here, Fauss has a deeper well of grit than you see at the start (when he habitually lands in a dusty heap during race after race).

Speaking of dust, and heat, the whole movie seems to be covered in a fine layer of grit. There's no place to feel clean and dry. The dust is ever-present, mixing with sweat to give the characters a subtle muddy sheen. Even Lauren Hutton, who chats with Halsy about his ugly scar on his back, all the while having her bare bottom in view, winds up in a preggo smock, and she looks beaten, gritty, and ready to go home to the folks in San Francisco.

She hasn't much to do in the movie other than getting pregnant and abandoned, thereby cementing Halsy Knox as charmless and in possession of a terrible character.

So, why do I recommend this 52-year-old film? Nothing is ever new in movies. The value of watching is seeing how the story we already know is remolded into something fresh. Little Fauss and Big Halsy is a fresh movie, one that very few people saw or will see in the future. It's an actors' movie, and with the glut of pornographically stupid super-hero movies out there, it may be a refreshing change.

Real people, real situations, and a thoughtful good time.