Bobby Deerfield

When Bobby Deerfield was marketed in the USA it was sold to the public as a racing picture like Grand Prix or Le Mans. I well remember the advertisements for it. The European racing scene however is only a background for an Erich Maria Remarque novel on which the film is based. It is a very typical Remarque story about doomed people.

Remarque was one of the most pessimistic of 20th century writers. His best known work however usually has a war background. He spent his entire life trying to out do his first great success All Quiet On The Western Front. Such other work as Three Comrades and Arch of Triumph which were also filmed had a war background or post or pre-war if you will.

The novel Bobby Deerfield is based on Heaven Has No Favorites and came out in 1961 and its protagonist was not an American. My guess is that in order to film it and insure box office the protagonist was changed to an American and a rising American star was cast. Al Pacino plays the title role, an American driver on the European circuit who is self involved in his career. In fact he goes visiting another injured driver, not out of any tremendous concern for him, but to find out information about the crash because he's driving the exact same type of car.

While at the hospital he meets Marthe Keller who leaves the hospital with him. She's a terminal tuberculosis patient and she wants to experience a little of life before it's too late. His kind of risk taking profession appeals to her. It takes a while, but the two develop a relationship.

Which was paralleled in real life between Al Pacino and Marthe Keller and that certainly helped the film a lot. Keller joins Ingrid Bergman from Arch of Triumph and Margaret Sullavan in Three Comrades as yet another of Remarque's doomed heroines. And like in war Pacino's in a job where his number can come up any time.

The film was shot on location in France. Sydney Pollack showed some of the style he did while making that other Oscar winning romantic film Out of Africa. The French countryside is captured beautifully.

Still I think it was bad for American audiences to expect another Grand Prix in Bobby Deerfield. There was enough racing scenes in the film to satisfy racing fans, maybe. But make no mistake, this is a tender romantic story and a good one.

For me, one of the great roles of Al Pacino. and one of the most impressive love story films. for many reasons. in many forms. because it is a film about deep solitude. about escaping from yourself. about hope, in a manner who easyly escapes if you define it as a sport film. one of films reflecting, in inspired manner, the actors behind the roles. and this is one of basic motifs to see it time by time. not for artistic virtues, not for message but for a forme of precious honesty. and it is enough for admire "Bobby Deerfield" as one of admirable films.

Al Pacino is BOBBY DEERFIELD in this touching and moving film about a race car driver in a indifferent marriage who falls in love with Lillian (Marthe Keller). Deerfield buries his feelings and forgets his past until a reckless and passionate woman (Keller) who also lives in death's shadow shows him life's possibilities to the fullest. Beautiful scenes shot in France and Italy make this film even more romantic as well. As Pacino said during the filming of Bobby Deerfield, "I might have been closer to that character, what he was going through, than any character I've played". Why this film is not out on dvd is beyond me, it is fantastic. Funny and touchingly romantic. This was during Pacino's best years.

This movie is hard to locate and seems to be a true lost gem. Both Al Pacino and Marthe Keller are true hedonists who fall in love. But there's more. Keller is dying of cancer and Pacino is a racing driver who lives for the adrenalin buzz of speed and excitement. Both get to realise the reason behind their own "Live for today" motivations. Keller is the society girl who falls in love with Pacino and their manic lifestyles compensate one another. A very poignant and truly touching movie which will bring a lump to your throat.

In prime 1970s fashion, the beginning of this movie, as well as many scene transitions, are shown with long shots, awkward zooms, lengthy silences, and random cuts. During the first ten minutes, I wondered what I was getting myself in for, besides two solid hours of Al Pacino eye candy. The good news is my hobby of staring at beautiful people on the screen won out, and I was rewarded by a really beautiful film . . . and two solid hours of Al Pacino eye candy.

Ladies, this is what a chick click looked like in the 1970s. A closed-off, cold racecar driver can't resist the kooky, outspoken woman he meets by chance, and his soul learns about love and life. If your boyfriend sits through this movie with you, keep him. There's nothing manly about this movie, even including the very brief racing scene and the presence of Al Pacino.

Somehow, director Sydney Pollack knew exactly what women in 1977 wanted to see and filmed it. Even despite the 1970s camera angles and the European pacing, this movie resonates with women. Every woman wants to meet a man who's lost his passion for life; every woman wants to be able to be completely herself, win the guy, and have him fall so desperately in love with her he'll feel his world will end without her. Every woman wants a man to look at her the way Al Pacino looks at Marthe Keller. Ladies, rent this movie, fall in love with Al Pacino, and then go rent Frankie and Johnny.

On a more serious note, this movie is a drama. I'd hate to recommend it and have some unsuspecting female watch it thinking it's on par with Pillow Talk. It's more on par with Love Story, but it's an infinitely better film. Marthe isn't annoying or riddled with an entitled attitude, and Al has so many layers of love, pain, gratitude, and sorrow in his expressions, it's just rude to compare him to Ryan O'Neal.