The Reivers

I saw this film when I was about the same age as the main character, the boy, played by Mitch Vogel. It left a strong impression on me. The cinematography, the magnificent score by John Williams, flawless acting, and, of course, Faulkner's story, create an atmosphere that few movies achieve. In terms of acting, McQueen is probably the weakest link, but he still deserves points for successfully suppressing his characteristic squint and open-mouthed grimace -- and he is as close to lovable as he can be. The movie also has more than it's share of memorable scenes, especially between Will Geer as the grandfather and Vogel.

I would be wary of letting young children see this film. The story conveys the undercurrents of racism and sexism that existed then (and now). I was 12 when I saw it and I understood it. As a parent, be ready to explain some things, though, and preview the film.

This turned out to be a very nice story, almost an old-fashioned type of film, based on an old William Faulkner novel.

The only difference between this an an earlier classic movie of this nature was a bit of profanity, but it was 1969 and that stuff was now allowed in films. However, there wasn't a lot of it and the characters are decent people, anything but profane. However, the main character, played by Steve McQueen, wasn't exactly the best role model, teaching his young son how to lie and then taking him to a "house of ill repute." Other than that, he's a good guy and the film does end on a high note as the young boy (played well by Mitch Vogel) learns a hard lesson about lying.

I haven't seen this film in awhile but I remember the wonderful yellow automobile in here. Wow, what a beautiful car. There is an interesting horse race in here, too, with a different twist to it.

In all, a nice movie with good messages in the last half hour after what looked like a film that was a shaky morally. There's some nice photography in here, too. This film is decent enough for one viewing but probably not to purchase for multiple screenings.

I have not read the Faulkner story on which this is based, so I can't comment on how much of this delightful film can be credited to him (doubtless Burgess Meredith's voiceovers are Faulkner's words), but this wonderful movie about the pain of growing up is laced with plenty of adventure and fun and deserves to become a classic. The John Williams score is superb. The acting is wonderful from all the leads, including the boy. This is one of the underrated Steve McQueen's best roles, and Will Geer is perfect in the small but rich part of Boss. The characters are all wonderfully and richly fleshed out, and there are many moments of human insight. To top it off, the cinematography makes the movie simply gorgeous to look at.

Considering the movie's manifold virtues it's interesting to note that one never sees it on any of the cable channels. The reason is obvious, and it's political correctness. The movie uses the "n" word multiple times, although always in the same way Mark Twain used it, i.e. to demonstrate the inhumanity behind the use of the word. Also Corrie has her eye blackened by Boone, and Ned explains to Lucius "what better sign can a woman want from a man that he has her on his mind." All this racism and sexual violence is of course abhorrent, but the forces of political correctness would rather pretend that it never existed than to look it square in the eye.

So to see this movie you'll have to buy it on DVD, which I strongly urge you to do.

I personally rank this film, based on William Faulkner's last novel, among my favorites. Not that I would rank it as a "great" film, but it's a lot of fun. It's true that McQueen may have been in fact older than his character was supposed to be, but his attitude and style seems to bring it off. Mitch Vogel, as the young boy Lucius, who is lured into stealing his grandfather's (Will Geer) new Winton Flyer automobile for a wild weekend in Memphis by Boone Hoggenbeck (McQueen) is completely believable as a kid who wants the adventure, but has to be drawn into it because he respects his grandfather so much. Rupert Crosse as McQueen's other reiver (thief) in this caper adds an extra comic relief as the one who gets them into a real fix in Memphis. Ordinarily I hate movies with running narration, but the narration in this by Burgess Meredith as the grown old Lucius, remembering his exciting weekend in Memphis, adds a real touch of poignancy to this tale of youth lost. Additionally, Sharon Farrell as McQueen's prostitute girlfriend, Clifton James as a vicious southern sheriff, and Juano Hernandez as a kindly old black farmer add real dimension to the film. Throw in a beautiful score by John Williams (his first film score) and you've got the makings of a warm, charming story, accurately drawn, from the turn of the century. The scene at the film's end, where the grandfather has a heart-to-heart talk with the boy, is wonderful, and very "authentic." The director, Mark Rydell, did a terrific job. I've seen this movie many times, and it never fails to entertain me.

A diverse group goes off on an adventure, each for his own reasons, and each comes back changed and much wiser. Romance, excitement, tough choices, new experiences, and a really great car -- what more can you ask for? In a just world, this would be considered a classic of the coming-of-age genre. It is one of McQueen's most complex and charming performances. Crosse, another actor who died much too young, is brilliant. It has some mature material, but it is a wonderful family movie to talk to kids 13 and up about what growing up really means.