Bronco Billy

After "Every Which Way But Loose" and its sequel, "Any Which Way You can" became HUGE boxoffice hits, it was something of a surprise that audiences shunned this film, which contains alot of the same elements (minus the monkey), but is just a tad more mature and serious in terms of story and character development. It's an admittedly corny but charming semi-western comedy that has Eastwood leading a ragtag "wild west show" across the country, playing at various county fairs, churches and orphanages. A snooty, spoiled, runaway heiress hooks up with the troupe, causing all kinds of complications. Eastwood directs with a sure hand; the film is rather leisurely paced, but has warm, rustic charm that's very likeable and the movie is worth discovering on video and DVD now. Fine family entertainment.

Bronco Billy (1980)

** 1/2 (out of 4)

The cowboy/dreamer Bronco Billy (Clint Eastwood) is barely keeping his Wild West show going but his luck's about to change when he gets involved with a woman (Sondra Locke) recently dumped by her husband. This is a rather interesting film as I've read that Eastwood says it's his favorite but at the same time I've read what a bomb it was at the box office when originally released. It's certainly understandable why most people would avoid this thing but that's a shame as it's a cute little film that manages to have enough charm but I doubt those wanting Dirty Harry will have much use for it. I wouldn't say I enjoyed the film all the way through as I did think there were some flaws including the ultra-long running time. A dreamy comedy like this one really didn't need to go on for nearly two-hours but some of that is due to the screenplay, which is quite predictable in regards to the ending. With that said one still has to admire Eastwood for trying a film like this because it's basically just about making your dreams come true. In the case of Eastwood's character, he always wanted to be a cowboy and he's doing whatever it takes to keep his show going even though modern audiences have grown tired of it. Eastwood gives a very good performance and once that will keep a smile on the viewers face. The actors hasn't had too many chances to play a nice and charming person but he handles the role very well. Locke is also quite good in her performance as the rich brat who eventually buys into the show of dreams. I found her performances to be quite good and she was very believable in the turns her character takes. Scatman Crothers. Geoffrey Lewis, Bill McKinney, Sam Bottoms and Sierra Pecheur all add nice support as well. I think a little editing would have helped the picture but then again I'm sure this is the type of film that would getting better on repeat viewings. I'm sure even today this isn't a title that Eastwood fans rush out to view but they should certainly give it a shot if for no other reason that to see the legend in a different light.

Eastwood once said that this was among his favourites of the films he directed. I understand why. Even though it's flawed, 'Bronco Billy' has heart and how can one not like a film about a circus group with intriguing characters. Let me start with the flaws (just to get them out of the way). I liked how the relationship was developing between Billy and Antoinette but in the second half the film felt rushed, as though Eastwood was suddenly in a hurry to finish the movie.

I've always been fascinated by the circus (the real ones, not the ones that torture animals) and was easily persuaded to see 'Bronco Billy' (alongside the fact that it's a Clint Eastwood film of course). I was quickly drawn to the interesting characters that include Billy, Lefty, Big Eagle, Running Water, Leo and so on). Each of them have left a painful past behind and Billy has given them a new purpose. The Antoinette Lily (what a sexy name for a character) character is sort of the typical spoiled-brat turned into affectionate woman type of leading lady but she is definitely amusing to watch.

All the actors perform well. Eastwood is solid as he's always been. He's brilliantly supported by Scatman Crothers, Geoffrey Lewis, Bill McKinney, Sam Bottoms, Dan Vadis and Sierra Pecheur. Sondra Locke shares fine chemistry with her leading man.

There's a subtle sense of adventure in 'Bronco Billy' which isn't realized right away. As the viewer is lead to follow these characters and experience their struggle and hardship at the same time their will to stick together and be there for one another while embracing the unpredictable life they lead, Eastwood shows that there is something beautiful and pure about that lifestyle.

'Bronco Billy' is quite well-crafted. The landscape is pleasing to the eyes. The score, lighting and cinematography are quite good. Editing is slightly uneven. The tongue in cheek humour stands out

Overall, for me, 'Bronco Billy' was a delight to watch. Eastwood's sincerity shows in this memorable little gem (thanks to the characters).

Bronco Billy the sharpshooting cowboy is the owner of a modern-day travelling Wild West Show that seems to get caught in one messy situation after another. And not helping is the lack of crowd figures to their show. But nothing is going to stop Bronco Billy along with his companions from living their American dream. Through some amusing chain of events a wealthy, snobby heiress Antoinette Lilly finds herself tagging along with the show and becoming one of Bronco Billy's assistant, after her new husband leaves her stranded with nothing.

I don't understand why they think this cap gun shoots nothing but blanks. While, Eastwood (who directs and stars) goes all sentimental, warm and fuzzy for a change. It wasn't as well accepted (despite it being one of Eastwood's favourites) and flopped at the box office with it receiving such poor jabs from most critics. Not to say it's great, but this comically light-hearted character journey has a certain amount of charm within its foundation that doesn't make it as bad as you would believe. Even with this whimsical nature, it never gets overbearing. Sure it can cause you to cringe at times, but it wears its heart on its sleeve and keeps it integrity intact. More often I found myself smiling at the shenanigans, well it was hard not to. It's simply a satire worked into an old-fashioned story of familiar ingredients, were there was plenty of things going on in the plot. Who knew these traditional plot devices could maintain such interest. This is because of a delightful bunch of wholesome performances, authentically zippy purple patches of random fun and Eastwood's conventionally hardy direction makes sure it ticks along sufficiently. Even if it's nicely shot, there's nothing overly flashy or quirky creeping up, so it's all about the loyal chemistry and assured story that keeps one compelled. Streamlining the moralistic story are deep insights and symbolic brushes of the true feeling of the American dream. You got to earn it, as it's not served on up on a plate for you and from that you make the most out of it to live up to 'your' dreams. Pacing-wise it can stall in stretches, but I didn't find it boring when that did occur. The stock characters here seem to be grounded by reality, despite some silly developments (mainly involving a mental institution). The relaxed Clint Eastwood chimes in with a wonderfully touching performance. He simply chews up the material with great vigour. A terrific Sandra Locke has a screen presence that's equally as dominating in the role of the stuck-up, cold-blooded high-end dame. Eastwood regular Geoffrey Lewis' oddball greedy turn was marvellously madcap. The performances of Sam Bottoms, Dan Vadis, Sierra Pecheur and Bill McKinney are pleasurably sincere as Eastwood's ragtag team.

If there's one Eastwood film that's unfairly lampooned. "Bronco Billy" gets my vote. This gratifying show must go on.

This film is not about Eastwood doing the stock 70's Eastwood, it is not about Sandra Locke, or about any other person's performance. The people in this film are lost, both in the social space of a world they cannot live in and in time. They lack most of the usual human equipment, like faith and hope (see Thomas McGuane's 'Panama'). But they blunder on, as much by default as by will, in the illusory world of Bronco Billy's road show and guided by Billy's real values, with each other. Like most of Eastwood's films, Bronco Billy is built around a story, but in this story how it comes out is not important, it is how Billy and this cast of lost souls get there. And the film has one the greatest lines in cinema history: The one Bronco Billy used to tell Antoinette what happened to his wife.