Missouri Breaks

The Missouri Breaks gets its title from the fact that the scene of the action takes place in Montana at the head waters of the tributary streams that eventually flow in and make up the Missouri River. It seems like you have to cross a lot of streams in order to get any place in that country, no matter which side of the law you're on. And we do get to see it from both points of view.

Jack Nicholson heads an amiable gang of horse thieves who probably are no better or worse than a lot of those who might be deemed on the right side of the law. They've been stealing a lot from big rancher John McLiam and he's about had it. His answer though might be worse than the horse thieves.

It's to call in a regulator which is a fancy term for a bounty hunter. The guy he gets is Marlon Brando who it could be argued is in his most villainous role on the screen. This is a swaggering Irish brogue speaking gunfighter who really does love his work.

Brando's ways start to rub McLiam the wrong way not to mention his daughter Kathleen Lloyd the wrong way. She's on bad terms with her father and has taken a shine to Nicholson in any event.

A lot of the same issues are dealt with in The Missouri Breaks that were in the fine Kirk Douglas western, Posse. The difference is that Douglas operates with a professional posse and he's got career plans which call for him to bring in outlaw Bruce Dern and his gang by any means necessary. Brando's not got any plans other than to do what he does, kill people with a license which he thoroughly enjoys.

The final confrontation with Nicholson and Brando is a gem from director Arthur Penn. There's very little words, but the expressions on the faces of both men are absolutely priceless, worth 10 pages of dialog.

The Missouri Breaks is the last of three westerns that Marlon Brando did, One Eyed Jacks and The Apaloosa are the others. This is definitely the one I enjoyed best.

'The Missouri Breaks' was filmed from a screenplay by National Book Award-winner Thomas McGuane, whose novels are often characterized as 'revisionist westerns', a sort of sub genre in which the romantic conventions of the western--the noble, idealized hero in the white hat taking on swarthy outlaws or bloodthirsty Indians, occasionally aided by a lone, sage, 'noble savage'-type Indian sidekick--are upended for the sake of a muddier, morally ambiguous, more historically truthful account of 'how the west was won.'

Suffice it to say that there are no heroes in 'The Missouri Breaks.' Our protagonist, Tom Logan (Jack Nicholson), is the de facto leader of a gang of fun-loving outlaws in post-Civil War Montana, pistoleros who make their living stealing horses from wealthy ranchers, laughing all the way, a bit like Robin Hood's Merry Men, only Logan and his boys keep the money and spend it on whiskey and whores. Egomaniacal rancher David Braxton (John McLiam) captures and hangs one of Logan's gang, which retaliates by returning the favor to Braxton's ranch foreman on the same noose. Intent on ridding the country of horse thieves and avenging his friend's murder, Braxton sends for Robert E. Lee Clayton (Marlon Brando), the most feared of the Regulators, mercenary frontier detectives famous for their ruthlessness and their ability to kill suddenly and without warning from long distances with their trademark Creekmore long-rifles.

Posing as an aspiring cattle-rancher, Logan buys an abandoned ranch next to Braxton's property to serve as a relay station for moving stolen horses across the plains. He is left to mind the ranch while his buddies move the latest take of horses, and while busying himself reviving the ranch's garden and orchard, Logan begins a relationship with Braxton's daughter Jane (Kathleen Lloyd). Jane suspects that Logan is an outlaw, which makes him only more appealing to her, as she has grown to resent her father's tyranny, particularly after witnessing the slow death of the young horse thief from Logan's gang.

Enter Robert E. Lee Clayton, one of the strangest and most curious of Marlon Brando's acting creations. 'The Missouri Breaks' was Brando's last starring role before 'Apocalypse Now!' (1979), and was preceded by 'The Godfather' (1972) and 'Last Tango in Paris (1972). Like Coppola and Bertolucci, director Arthur Penn (Bonnie and Clyde) clearly sensed that the best thing to do with Brando the Mad Genius was to sit back and watch. From the moment Brando's Clayton appears--bursting in on the funeral of the murdered foreman dressed like a western dandy in fringed leather coat and scarf, bellowing and yanking the corpse up out of the open casket to borrow a few of the ice cubes used to keep the body from decomposing as a compress for a tooth-ache--we know we are in for some vintage Brando.

Nicholson is typically likable, but he isn't given much to work with; 'The Missouri Breaks' is clearly Brando's show, as he systematically works his way through Logan's gang, farting, spritzing himself with perfume, dressing in drag as a frontier granny, singing love songs to his horse, and delivering odd soliloquy's while constantly munching on carrots. Lee Clayton is comic, but he is also sadistic and perverse. Brando seems to be having the time of his life, and it's a genuine pleasure to watch one of the most brilliant and magnetic screen actors of all time given free reign to fashion the lunatic Clayton.

Like much of McGuane's fiction, 'The Missouri Breaks' has a muted, understated tone disturbed only by acts of brutal, unsentimental violence. The scenes and dialogue are meant to reflect the stark beauty of the Montana plains along the fall line of the great Missouri River (the title of the film refers to the long stretch of the river between the plains and the mountains, the corridor by which Lewis and Clark made their way to the Pacific). The plot is fairly predictable once Lee Clayton arrives and starts hunting the horse rustlers, and so the film's main pleasure is in the acting performances, of which only Brando's is truly exceptional. Nicholson can do no wrong, but Tom Logan is a relatively bland, inarticulate character, and, hidden behind an unruly beard, Nicholson's facial expressions can't compensate for the minimalistic dialogue to create a more distinct character. There is little apparent chemistry between Nicholson and Kathleen Lloyd, who followed this film up with winners like 'Deathmobile' and 'Skateboard: The Movie' before settling into a long string of guest shots on TV. Given all the fun Brando seems to be having, Jack must have felt gypped.

'The Missouri Breaks' is all about Brando, and is well-worth watching just for his scenes. It also features an excellent soundtrack by John Williams ('The Missouri Breaks', interestingly, was Williams' project between 'Jaws' and 'Star Wars') and fine supporting performances by Frederic Forrest ('Chef' in 'Apocalypse Now!'), Randy Quaid (a very much underrated dramatic actor in his younger, pre-'Vacation' days), and cult-favorite Harry Dean Stanton ('Wise Blood,' 'Repo Man,' 'Paris Texas') as Logan's fellow horse-thieves. Jack is Jack--one of the greats, with a career that easily stacks up to Brando's--but here, unfortunately, he's stuck playing the straight man to Brando's nut-case, making the movie a disappointment for viewers hoping to see two of film's finest actors at their best.

If you're looking for a Howard Hawks/John Wayne-style western, the Missouri Breaks may not be for you. It is, in my opinion, the most sadly underrated western ever.

This film didn't get the treatment it deserved when it came out in the 70s in part because its two stars, coming off movies like the Godfather and Chinatown, were box office powerhouses in their prime when uniquely paired together. I don't know what film could have matched the expectations of the critics, especially a western that was probably more low key and off-beat than anticipated.

I will never forget the first time I watched this movie and how pleasantly shocked I was at how good it actually is.

Brando's portrayal is so wonderfully eccentric it gets more and more enjoyable with repeated viewings. Nicholson's, meanwhile, exemplifies the charisma that we associate with him being at the top of his craft during the Chinatown/Cuckoo's Nest era in his career.

While the two big name stars don't disappoint, the rest of the cast is stellar. Kathleen Lloyd gives the kind of performance from a lesser known actress that has me scrambling for the video guide wondering what other films she might be seen in. Randy Quaid's role is fascinating for being so early in his career. But Harry Dean Stanton delivers an especially understated, yet weighty performance as Nicholson's closest partner.

The dialog is often humorous, especially one scene between Lloyd and Nicholson where he drawls: "Keep the dang thing, I don't want it!"

The Missouri Breaks has extremely interesting, individual characterizations with authentic settings that take you back to a credible old West that is not Hollywood back-lot. The story is funny at times, but extremely tense as it approaches its climax.

Nothing irks me more than a movie that is wonderful in all aspects expect for the score, but that is not an issue here. John Williams' music, with occasional emphasis on the harmonica, fits well with the style of the movie.

If you appreciate the genre, this is entertaining and worth owning. It's the kind of western that should be watched several times to appreciate some of the more subtle nuances and details.

This film has suffered some pretty undue criticism. It gets the dreaded `BOMB' rating in Leonard Maltin's guide, followed by `The worst film of a great director.' I haven't seen more than a couple of Penn's other films, so I can't comment on that, but it is hardly a bomb. Sure, it is a little slow moving, and it doesn't quite feel like the themes of the film were totally panned out, but most of the film is very good. I'm assuming Brando's the problem with most of the film's detractors. Wow, is his performance weird here. If you ever wanted to find the missing link between The Godfather and Apocalypse Now, here it is. He plays a bounty hunter of sorts hired to discover some horse thieves and murderers. This character is very eccentric, and I'm guessing that Brando had a lot of artistic input on this one based on his later career. He's basically a psycho killer, and he seems much more lawless than the criminals he's seeking. He also speaks with an Irish brogue, some of the time. Personally, the waxing and waning accent is my only real problem with the role, and I'm not a big accent baby anyway. It's a tiny flaw in what is otherwise a very interesting performance. Brando creates a very memorable character. Jack Nicholson plays his rival. He's almost ready to go straight, having found a nice, small ranch and a girlfriend (Kathleen Lloyd). His performance is subdued, and I really think Nicholson is best when he's like that. This isn't his greatest performance, but it is subtle and it's very good. The flaws of the film are offset by the number of great scenes in it. Almost every single actor gets one scene alone with Brando, and both Randy Quaid and Harry Dean Stanton deliver excellent performances especially in those scenes. Nicholson's two best scenes are also alone with Brando. I would guess than he had something to do with their co-star; I do think Brando deserves some credit for the excellence of these scenes. Penn's direction is nothing to write home about. I love the two other films I've seen by him, Mickey One and Bonnie and Clyde, but, let's face it, he was more or less ripping off the Italian and French cinemas of the time, respectively. Missouri Breaks is much more straighforward in that respect, and perhaps it is here that it could have used a boost of energy. 8/10.

As others have hinted, this film is beyond most people's idea of merely quirky. In fact, it's slightly unbalanced and in parts borders on insane... yet somehow what emerges is a film that is just about believable, as are the various colourful characters who act it out. The film is great fun, and its two hours go by quickly.

Being a huge fan of Brando, and an admirer of Nicholson, I end up thinking this film in no way detracts from their illustrious careers and what they've done elsewhere. Having said that, Brando does ham it up in a grand, thoroughly camp style: outlandish costume, inexplicable changes of costume, florid gestures and - as other reviewers have pointed out - weird accents. The accents he uses shift around inconsistently and theatrically (especially the more sustained efforts to sound Irish in his early scenes). But he obviously had fun when making the film. Nicholson's performance is a model of seriousness and sobriety by comparison.

The cinematography is superb, with great use of light and shade in shooting a wonderful landscape. The action is generally slow-paced, but with a heavy sense of impending menace through most of the film. The score is not among the film's stronger points. Dialogue is mostly fresh and original for a 70s era western, and cliché avoided. It is well acted, despite the quirkiness of the script and screenplay.

Perhaps a little odd that the critics slated this film so ferociously at the time it was released. Butch Cassidy and the Sundance Kid, made just a few years earlier was (rightly) lauded to the skies, precisely for giving originality, humour and a modern twist to the old western format. That film now seems in some ways more dated than The Missouri Breaks. The latter is not as good a film as Sundance, by a distance, but, for any true fan of cinema, well worth giving it a try.