Baby the Rain Must Fall

Being a parole officer myself,this uniquely sad and frustrating movie is exactly what goes on in the recitivist's life. A good caring wife, new family, he knows what his weak points are, but does them anyway maintaining the downward spiral to the inevitable return to prison. The victim here is not McQueen but the wife and child and their helplessness in getting him to be what they want. A responsible and loving husband/father. This is exactly what we see in the job every day. The sad part, there is no help or hope for the family....

I just saw this hauntingly beautiful film last night on AMC. It's subtle beauty requires viewers' attention and participation. Do not watch it if you're in the mood for an easy escape film. To appreciate it you must be sensitive to facial expression and non-verbal signal. It also helps to understand a little about the culture of the South.

It works on two levels, at least:

First, it tells the story of a wife's dawning understanding of the hopelessness of her marriage and her resolve to have a good life anyway.

Second, it shows the tragedy of severe child abuse in great depth and reveals the community's culpability. I've never seen a more powerful visual metaphor than Henry's escape attempt, where camera facing him head-on, he runs furiously, climbing and clinging and failing to make it onto the back of a speeding truck.

The film juxtaposes Henry's relationship to his adopted mother to the relationship of his wife to their daughter. This loving, beautiful relationship is the pivot around which the story revolves. Henry, dull, unintelligent, abused Henry is lost, but in one area he had supreme luck (or supreme judgment). His child has what he never had, and will grow up beautifully. He could not have chosen a better mother for his daughter.

The screenplay, acting and direction are all superb.

This film comes close to being something truly great. It is beautifully photographed and acted (particularly the work of Lee Remick), and the theme, not confronted head on, of child abandonment/abuse, which plays under the images, is quite powerfully evoked. The film's shortcomings are mainly mechanical: some rough transitions in the story-telling; the unsatisfactory attempts by Steve McQueen at miming to a too-professional singing voice; and the omission from the scenario of one or two more direct references to the childhood from which McQueen's dysfunctional character has emerged. Certainly, the loving inactions between Remick's character and her screen daughter, Margaret Rose, are completely convincing and form a strong counterpoint to her husband's damaged personality. But we are not sure where we should be focusing: on their relationship, on the wife and husband relationship, or on his relationship with his adoptive mother (who appears only briefly, but is the unspoken menace). Of course, this difficulty is very much part of what the film is about; however, the various relationships sit so apart from each other, the tragic impact of the one on the others is somewhat lost. I suppose it is a testament to the delicacy and understated-ness of Robert Mulligan's directorial touch (seen to greater effect in 'To Kill a Mockingbird') that this sort of reaction is called up at all. One feels this film has so much that is good, the potential is there... A reflection of its time, perhaps: while it was being made, news broke of a shooting in Dallas and the death of a young president.

I find this film quite fascinating because of its setting and style.

The credits on the road and the black and white photography are so striking and evocative of its time that if one in the year 2005 wants to get a real sense of the quiet 'sixties rural/suburban time, this film will do it for you. I find it a companion piece to BUS RILEY'S BACK IN TOWN and even THE STRIPPER all made around the same time, as if a set of films of a similar tone and look all made in the same US town. Where I lived in Australia in 1965 was exactly like all these films but this this one gives me the childhood recollection of hearing the sad adult conversations of neighbors. These 3 films deserve better awareness of lonely and changing 60s life before Vietnam horror and psychedelia took over and perhaps offer the best sense of time travel one could wish for. If you also want a bitter chaser with a wicked laugh, add KISS ME STUPID to the mix.

This is the kind of film which seems to struggle to find an audience outside of its immediate setting – in its case, the American Deep South. It's basically a familial drama where husband and wife are driven apart by the former's troubled persona – especially due to his own inclination to violence and the enigmatic relationship with his eminent but dying guardian. Director Mulligan had created an all-time classic with TO KILL A MOCKINGBIRD (1962): this updates the atmosphere (including a failed attempt to replicate the Gothic touch associated with Robert Duvall's Boo Radley character in that film) but still throws in a little girl at the core of the story. Steven McQueen goes through the whole 'Rebel Without A Cause' act to little lasting effect – the performance is even more hurt by the fact that, playing a wannabe rockabilly singer, he's forced to mimic to a number of tunes (including the title number). Similarly, co-stars Lee Remick and Don Murray have typical roles, and John Wayne regular Paul Fix also has a nice bit as a benign Judge. The film notches up some tolerable intensity with scenes where McQueen is beaten up, feverishly tries to dig up the old lady (for whatever purpose) and finally escapes custody – if only for a short while; otherwise, the greatest points of interest here are Ernest Laszlo's moody cinematography and Elmer Bernstein's eclectic score.