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IMDbPro

The Old Man & the Gun

  • 2018
  • Not Rated
  • 1h 33min
NOTE IMDb
6,7/10
51 k
MA NOTE
Robert Redford in The Old Man & the Gun (2018)
The true story of Forrest Tucker (Robert Redford), from his audacious escape from San Quentin at the age of 70 to an unprecedented string of heists that confounded authorities and enchanted the public. Wrapped up in the pursuit are detective John Hunt (Casey Affleck), who becomes captivated with Forrest's commitment to his craft, and a woman (Sissy Spacek), who loves him in spite of his chosen profession.
Lire trailer2:11
13 Videos
99+ photos
CaperHeistTrue CrimeBiographyComedyCrimeDramaRomance

Inspiré de l'histoire vraie de Forrest Tucker et de son audacieuse évasion de la prison de San Quentin à l'âge de 70 ans pour se lancer dans une série sans précédent de braquages qui ont déc... Tout lireInspiré de l'histoire vraie de Forrest Tucker et de son audacieuse évasion de la prison de San Quentin à l'âge de 70 ans pour se lancer dans une série sans précédent de braquages qui ont déconcerté les autorités et ont enchanté l'opinion public.Inspiré de l'histoire vraie de Forrest Tucker et de son audacieuse évasion de la prison de San Quentin à l'âge de 70 ans pour se lancer dans une série sans précédent de braquages qui ont déconcerté les autorités et ont enchanté l'opinion public.

  • Réalisation
    • David Lowery
  • Scénario
    • David Lowery
    • David Grann
  • Casting principal
    • Robert Redford
    • Casey Affleck
    • Sissy Spacek
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,7/10
    51 k
    MA NOTE
    • Réalisation
      • David Lowery
    • Scénario
      • David Lowery
      • David Grann
    • Casting principal
      • Robert Redford
      • Casey Affleck
      • Sissy Spacek
    • 295avis d'utilisateurs
    • 224avis des critiques
    • 80Métascore
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 2 victoires et 12 nominations au total

    Vidéos13

    Trailer #2: Redford's Final Role?
    Trailer 2:11
    Trailer #2: Redford's Final Role?
    Official Trailer
    Trailer 2:27
    Official Trailer
    Official Trailer
    Trailer 2:27
    Official Trailer
    The Old Man & the Gun
    Trailer 2:19
    The Old Man & the Gun
    Robert Redford: The Con With Conviction & the End of a Legendary Screen Persona
    Clip 5:10
    Robert Redford: The Con With Conviction & the End of a Legendary Screen Persona
    The Old Man & The Gun: Prove It
    Clip 1:28
    The Old Man & The Gun: Prove It
    The Old Man & The Gun: Doing A Great Job
    Clip 0:53
    The Old Man & The Gun: Doing A Great Job

    Photos100

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    + 93
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    Rôles principaux99+

    Modifier
    Robert Redford
    Robert Redford
    • Forrest Tucker
    Casey Affleck
    Casey Affleck
    • John Hunt
    Sissy Spacek
    Sissy Spacek
    • Jewel
    Danny Glover
    Danny Glover
    • Teddy
    Tom Waits
    Tom Waits
    • Waller
    Tika Sumpter
    Tika Sumpter
    • Maureen
    Ari Elizabeth Johnson
    Ari Elizabeth Johnson
    • Abilene
    Teagan Johnson
    Teagan Johnson
    • Tyler
    Gene Jones
    Gene Jones
    • Mr. Owens
    John David Washington
    John David Washington
    • Lt. Kelly
    Barlow Jacobs
    Barlow Jacobs
    • Offerman
    Augustine Frizzell
    Augustine Frizzell
    • Sandra
    Jennifer Joplin
    • Martha
    Lisa DeRoberts
    Lisa DeRoberts
    • Helen the Teller
    Carter Bratton
    • Local News Anchor
    Mike Dennis
    • National News Anchor
    Tomas Deckaj
    • Mechanic
    • (as Tomas 'Dutch' Deckaj)
    Isiah Whitlock Jr.
    Isiah Whitlock Jr.
    • Detective Gene Dentler
    • Réalisation
      • David Lowery
    • Scénario
      • David Lowery
      • David Grann
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs295

    6,751K
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    Avis à la une

    JohnDeSando

    Redford is the reason.

    Watching Robert Redford breeze through The Old Man and the Gun, I am reminded that a minimalist drama like this can serve one purpose only if it wants: See an 82-year-old movie star gracefully perform again, with dignity. However, this film offers more in its smallness: seasoned actors like Sissy Spacek, Danny Glover, and Tom Waits provide momentary joy beyond Redford's sustaining charisma.

    Despite the clichéd bank robbery motif, based on the real-life career of serial robber Forrest Tucker, his eighty robberies and 16 prison escapes reveal not a mean man but rather a charmer who robs because it makes him smile and who helps others when he doesn't have to.

    Old Man hints at deeper emotional possibilities when it's discovered that his daughter, played by Elizabeth Moss, is unknown to him:

    Jewel (Sissy Spacek): "Do you have any children?" Forrest Tucker: "I hope not." The film likes to keep these moments underwritten to suggest the depth as a richness he hasn't ignored but prefers to keep at bay. That spareness of emotion, dialogue, and sustained discourse adds to the mystery of a man who floats above daily intercourse to pursue a passion, albeit robbery.

    Redford shuffles a bit like an old man, but he teases us with the wisdom he holds behind that killer smile and a youthful insouciance that makes him ageless.

    You will not be revisiting the wisecracking of Butch Cassidy and the Sundance Kid or the sophistication of The Sting; you will get a fun heist film featuring a star who evidences the reason he has 78 entries in his filmography and originated a seminal cultural institution, The Sundance Institute. A bit like the underplaying but still prolific and passionate Forrest Tucker.

    It's infectious: "I've been thinking about a bank robbery my whole life." Ryan Gosling
    5gavinp9

    Interesting true story, but lacklustre execution

    'The Old Man & The Gun' is Robert Redford's final acting role. It's not quite a fitting finale - he's great as Forrest Tucker, the aging bank robber, but the overall film fall's a little flat. Based on a true story, most of his exciting adventures and prison breaks are glossed over, in favour of him finding late-life love with (Spacek). He can't curb his compulsion to rob banks however, and it assisted by Teddy (Glover) & Waller (Waits), but underutilised.

    Detective Hunt (Affleck) is the Texas cop out to catch him - we also spend unnecessary amounts of time with his home-life. The chemistry between Redford and Spacek is good, and he's still as charming as ever. Affleck plays an exhausted cop as almost too dreary. Instead of seeing any heist planning or prison breaks (besides a montage), we instead get Redford and Spacek talking in a diner, walking, or making tea.

    Thankfully, it's a quick 90min film, but the pacing and action could've been much better. Tehre's some chuckles, but nothing hilarious. You're better off re-watching 'The Sting'!
    8TheLittleSongbird

    The last hurrah

    Touted as Robert Redford's final film, its main interest point, 'The Old Man and the Gun' interested me even further with positive word of mouth from trusted friends and critics and being among the higher rated films of the year. Alongside ever charming Redford, having the likes of Danny Glover, Tom Waits, Casey Affleck and Sissy Spacek in the same film and that it was directed by David Lowery (best known to me for 'A Ghost Story' and 'Pete's Dragon', found myself liking both in their own way for different reasons, although the former is very polarising) also promises a lot.

    While not without its issues, 'The Old Man and the Gun' has a huge amount to recommend and its best assets are pretty wonderful. It very nearly became one of my favourite films of the year, and although it doesn't quite reach that it still is one of 2018's better films from personal opinion and every bit as deserving of the praise it's garnered. That is saying a fair bit as it has been a hit and miss year. And if it really is Redford's last film, he definitely goes out on a high and the film does him justice. Can see that 'The Old Man and the Gun' has not worked for all and that is understandable, it is not hard to see why it hasn't connected with some and any criticisms regarding some of the storytelling and pace are in my opinion valid.

    Did think that there are draggy stretches and parts where the storytelling borders on the repetitive side. The ending is rather anti-climactic.

    Also felt that Casey Affleck's role was underwritten, it actually felt like it was intended to be a lead role but truncated, and Affleck is a little too laconic in it at times, though there are enough instances to show that it is actually still plays to his strengths as an actor.

    However, 'The Old Man and the Gun' is very rewarding elsewhere. Redford piles on the likeability and charm with effortless ease, really terrific work in a performance that dominates in a good way the film, and some of his best in years. The pathos that Sissy Spacek brings to her role is truly moving and while Danny Glover and Tom Waits don't have large roles, somewhat unshowy, they do make strong impressions because their screen presences are pitched perfectly. The character wriitng helps make the characters mostly compelling and they feel like real people, that for Redford's character has remarkable depth and there is a constant sense that Lowery and everybody else had immense respect for Redford without being self-indulgent. Lowery similarly directs impeccably, doing wonders with a story that fits so well with his style. Much of 'The Old Man and the Gun' has a relaxed style but still has momentum to stop it from being aimless.

    Visually, 'The Old Man and the Gun' is cleverly shot, with use of zooming and whip-pans, old-school style, that is stylish and affectionate rather than cheap. The scenery and production design are handsome and evocative without being too clean. The music is never too intrusive or too low-key, the jazzy nature nicely understated in parts in a very soothing sense while packing a punch in others. The script doesn't ramble or feel padded and has enough tautness and emotion. 'The Old Man and the Gun' boasts some thrilling action pieces enhanced by the photography, the robberies having the right amount of tension and brio, and the nods to past films, basically looking back on Redford's career and filmography, are affectionate rather than gimmicky. But it works even better in the calmer more introspective character moments. These moments are very charming and also very poignant.

    Overall, a very good film with many excellent elements. 8/10 Bethany Cox
    7RforFilm

    Though it's stylistic choices are questionable, Robert Redford delivers a good leading performance in The Old Man & the Gun

    For what is said to be his final movie, it makes sense to talk about actor Robert Redford. Having been in Butch Cassidy and the Sundance Kid, The Sting, and All the President's Men, he has a track record of several classical movies, but has managed to maintain a modern career with All is Lost, the Pete's Dragon remake, and even Captain America: The Winter Soldier. How does he manage to keep a lasting legacy when Hollywood tends to dispose of older actors? Robert Redford's personality represents a certain charisma that's so charming that you feel like you could follow him no matter where. His relaxed, more reserved nature allows him to be seen as a classical and modern face that can be liked by most people.

    I think a lot it also comes from how little he reveals about his private life. You get the sense that he has nothing to hide, but nothing to present either. He just seems like one of the few honest faces around Hollywood. Because of this, he's always played good guys, rarely stepping into the role of an antagonist. What's good about his role in The Old Man & the Gun is that he plays a criminal whose constantly on that grey line of good and bad.

    In 1981, seventy-year-old Forrest Tucker (played by Robert Redford) is a compulsive robber who has a unique way of cleaning out the bank. Unlike the gun wielding, screaming crooks who threaten to kill everyone, Tucker is more likely to walk in with his team, ask for the manager, and simply tell him or her that the bank is being robbed and will use a gun if necessary. The managers comply as he's never rude, and even charming about it. This puts these people in such a relaxed, clearly thrown off position, that he's usually able to walk out without concern.

    According to detective John Hunt (played by Casey Affleck), the man assigned to track Tucker, the old man has been in and out of prison several times, always escaping. Hunt spends his time trying to track Tucker throughout Texas, while maintaining his family life. At the same time, Tucker feels confident enough to not only sit with horse rancher Jewel (played by Sissy Spacek), but to also admit he's a bank robber. She too is charmed by his personality and doesn't object. Tucker continues to rob banks, trying to stay ahead of the police and detective Hunt.

    As a final outing, The Old Man & the Gun is a good one to go out on. A good but not great movie. It does take advantage of the kind of person Robert Redford is; a charmer. Though I was hesitant, it turns out with the way Redford portrays Tucker, I could see this person as this plausibly good a robbing places. I am glad they also show that he's not a complete success, as they do show that a lot of what he does is more compulsory then anything. This is the kind of role that needs a Robert Redford. This is the kind of role that I could see Cary Grant or Kirk Douglass could have played if the movie had been made back in the eighties.

    Speaking of which, director David Lowery (Pete's Dragon, A Ghost Story) tries hard to emulate the style and look of an eighties movies, with a softer picture and even a grainer look. Though I don't know if this makes the movie bad, I'm not sure why this style was done for this kind of movie. I think it was to have a similar feel for the Redford classic, The Sting.

    The reason I bring this up is that it results is more of a "style over substance" movie that I think detracts from the movie's more character driven intention. It's still interesting to hear these characters converse, but something about the way it was made kept me unengaged. I think if the project had been made more traditionally, this may have sold it better, showing that Redford isn't a product of the time. The good news is that much of the style is made up with the material and the actors delivering it.

    I'll give this seven old hearing pieces out of ten. Though I'm not sure what could have elevated it as one of the greats of his career, Robert Redford does prove that his charisma can carry a movie fine. It'll defiantly please his fans and those wanting a movie that does feel like an eighties movie; not the cult ones, but the slower, more atmospheric ones like a Robert Altman picture. Give it a watch and see if this was a good one to end on.
    7Bertaut

    A well-made, old-fashioned yarn, but the laid-back ballad-like tone will be too insubstantial for some

    Of all the young American writer/directors to break through in the last few years, for me, Jeff Nichols and David Lowery stand tall; in particular, Nichols's Take Shelter (2011), and Lowery's Les amants du Texas (2013) and the existential masterpiece that was A Ghost Story (2017). Both filmmakers are five-for-five thus far, with even Lowery's mainstream Disney remake, Peter et Elliott le dragon (2016), managing to impress in all sorts of ways I wasn't expecting. Apart from being enjoyable in its own right, it also showed us that Lowery is as comfortable making personal small-scale character dramas as he is big-budget special effects blockbusters. With The Old Man & the Gun, he stands somewhere between - it's not as intimate as St. Nick (2009), Ain't Them Bodies Saints, or A Ghost Story, but neither is it as mainstream as Pete's Dragon. Originally touted as Robert Redford's final performance, although he has walked that claim back somewhat, The Old Man & the Gun is a laid-back ballad-like elegy to both the character Redford is playing and to Redford himself. Filmed in the style of a 1970's indie, Old Man is so tied to Redford as a performer as to be virtually self-referential. In short, if you're not a fan of the actor, you will get absolutely nothing from this film.

    Telling the "mostly true" story of Forrest Tucker, Lowery's script is based primarily on David Grann's 2003 New Yorker article of the same name. By the time of the article, the 83-year-old Tucker, who had been robbing banks since his early 20s, had amassed at least 80 successful jobs and escaped from prison 18 times. Usually described by the tellers from whom he stole as "gentlemanly" and "charming", his M.O. never changed - he would walk into a bank and ask if he could open an account. When asked what kind, he would pull back his coat, showing his gun (which was often unloaded, and which he never fired), assure the teller that he didn't want any trouble, and quietly talk them through the process of emptying their till. He would then wish them the best, tell them they'd done well, and walk out. The story takes place in 1981, when Tucker was 61 (although in the film, he's 76), and had recently escaped from San Quentin. Meeting a widow named Jewel (Sissy Spacek), after pulling off a job, they strike up a tentative romance. Meanwhile, he is pursued by Det. John Hunt (Casey Affleck), who is starting to respect him more and more.

    The first thing you'll notice about Old Man is its pace, which is measured, to say the least. Ostensibly, this is a heist film, but the crime narrative is very much secondary to tone and character beats. Lowery is relatively uninterested in excitement, suspense, plot twists, or any of the usual generic tropes. Instead, approaching the material casually, he focuses on a year of Tucker's life, with a tone as mellow as a film can be; rather than a shot of absinthe, it's a fine Irish malt drunk at a fireplace. Indeed, even within this structure, there's not a huge amount of character development, nor is there much of a dramatic arc. And that's not a criticism. Rather, the meditative, quasi-somnolent pace is very much one of the film's charms. Additionally, Lowery almost completely ignores what, for many, would be the most interesting part of Tucker's story - his 18 escapes. Instead, he puts them all together into one superb montage.

    However, for all that, Lowery's primary goal is to create an ode to an icon, and that icon is Robert Redford. Tucker's story is a vehicle which Lowery uses to celebrate Redford; the character is always there, but he exists behind the actor, rather than the other way around. The audience is never allowed to forget that this is Robert Redford on screen, to the point where the performance is self-referential. Indeed, during the escape montage, there's even a clip of Redford from another film, La poursuite impitoyable (1966). There's an obvious correlation between Tucker and Redford of which Lowery wants the audience to be very aware - they are both elderly, and still doing what they do best, reluctant to stop. We can never look past the fact that Tucker is played by Redford, and for the most part, Redford is playing Redford, with the film existing in large part only because it explicitly leans on his back catalogue and real-life legacy. Essentially, the whole thing is an extended metatextual allegory for Redford's own impending retirement, not to mention his reluctance to let go.

    As one would expect from Lowery, aesthetically, the film is fascinating. Lowery is very unusual in the sense that, thus far, he has never used the same cinematographer twice. Here, he uses Joe Anderson, whose cinematography is extremely unique, with the celluloid having a gritty, grainy quality, almost as if it were an amateur project. This is because Lowery shot on Super 16, doing so because he wanted it to look like it had been made in the period in which it was set. This is in direct contrast to, say, how Michael Mann shot Public Enemies (2009), with the use of fast, seemingly anachronistic, digital photography creating a sense that what was happening on screen wasn't necessarily taking place in the past, but could easily have been taking place right now. Lowery, in contrast, tries to suture the viewer into the past milieu.

    Another important aesthetic point is how much Lowery has obviously been influenced by Michael Mann, to whom there are several homages - a scene in a diner recalls a similarly shot scene between James Caan and Tuesday Weld in Le Solitaire (1981); the scene in the toilet where Hunt approaches Tucker is an obvious nod to Al Pacino confronting Robert De Niro in Heat (1995); and the scene of Tucker gaining inspiration whilst sitting in a cinema recalls a scene where Dillinger (Johnny Depp) does the same thing in Public Enemies.

    In terms of problems, there are a few. For many, the film will depend far too much on Redford, specifically the self-referential allusions to his career and legacy. If you're not a fan of his, you will get zero from this, absolutely nothing. Similarly, if you aren't familiar with at least some of his previous work, and his status in Hollywood, the whole thing will probably seem inconsequential. Another problem I have concerns Affleck. I know he's a celebrated actor and so forth, but for me, he plays himself in every single movie. There is virtually nothing to distinguish Hunt from Robert Ford in L'Assassinat de Jesse James par le lâche Robert Ford (2007) or Les Chandler from Manchester by the Sea (2016), or either of his performances in previous Lowery films. Every performance he gives, he plays a character with the weight of the world on his shoulders, shuffling around, speaking in a low-key hang-dog voice, reluctant to make eye contact, shifting on his feet.

    Lowery also has a strange habit of introducing themes which seem to be setting something up, only to completely abandon them without any kind of engagement. This is most obvious in relation to Hunt's inter-racial marriage to Maureen (Tika Sumpter) and their two mixed-race children. This is a fictional element added by Lowery, so one assumes there was some thought behind it. But this is Texas in 1981; there wouldn't have been a huge amount of mixed marriages. Yet Lowery seems to portray it as if it's the most normal thing in the world. Indeed, for the wife and children, life is fairly idyllic, with not a hint of any kind of societal disapproval. Why would you introduce a mixed-race marriage into this milieu without commenting on it?

    These issues aside, however, The Old Man & the Gun is a fine film. As much about Robert Redford as it is Forrest Tucker, although that won't appeal to everyone, there is much to praise. Made in a key so low, it's practically subterranean, Lowery hinges everything on Redford's presence, and, for the most part, it works well. There's little in here to get overly excited about, but neither is there much to criticise. Yes, the film is somewhat insubstantial, and there's virtually nothing here beyond the Redford/Tucker character, but it's still beautifully made, and, honestly, there's nothing wrong with spending 93 minutes hanging out with Redford, whether he's playing Forrest Tucker or Robert Redford. Whether or not this is actually his last performance remains to be seen, but if it is, it's as fine a send-off as any Hollywood icon could hope for.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      In an interview he gave during the 2018 Toronto International Film Festival, Robert Redford talked about this comedic film being a good note to end on, since the actor wanted his "last acting job to be fun."
    • Gaffes
      Forrest is arrested in 1981 at the age of 74, which puts his birth year at 1907. But a flashback shows him as a tween breaking out of a juvenile center in 1936--when he would have been 29.
    • Citations

      Stephen Beckley Jr., Esquire: I remember I sat down with him once and I said, "Forrest, surely there's an easier way for somebody in your position to make a living." And he looked at me and he said, "Brother, I'm not talking about making a living. I'm just talking about... living."

    • Crédits fous
      Jade Healy is credited as Wallpaper Whisperer!
    • Connexions
      Edited from La poursuite impitoyable (1966)
    • Bandes originales
      30 Century Man
      Written by Scott Walker (as Scott Engel)

      Performed by Scott Walker

      Used by permission of Carbert Music Inc.

      Courtesy of Mercury Records Limited

      Under license from Universal Music Enterprises

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    FAQ27

    • How long is The Old Man & the Gun?Alimenté par Alexa
    • When did the real-life story take place?
    • When was Forrest Tucker first imprisoned?
    • Had Forrest Tucker really been imprisoned in Alcatraz?

    Détails

    Modifier
    • Date de sortie
      • 19 octobre 2018 (États-Unis)
    • Pays d’origine
      • Royaume-Uni
      • États-Unis
    • Sites officiels
      • Official Facebook
      • Official site
    • Langues
      • Anglais
      • Espagnol
    • Aussi connu sous le nom de
      • Un caballero y su revólver
    • Lieux de tournage
      • Dayton, Ohio, États-Unis(Liberty Tower, 120 W. 2nd St., Dayton, Ohio 45402)
    • Sociétés de production
      • Fox Searchlight Pictures
      • Condé Nast Publications
      • Endgame Entertainment
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 11 277 120 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 142 131 $US
      • 30 sept. 2018
    • Montant brut mondial
      • 17 860 397 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 33 minutes
    • Couleur
      • Color
    • Rapport de forme
      • 2.35 : 1

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