Os Rebeldes

Steve McQueen tools around in a classy car, dodging bad guys, loving the ladies, and not giving a cuss. This may read like your typical 1960s effort from him, but that's something "The Reivers" ain't.

What is it? I guess it can be summed up as a broad coming-of-age comedy set in the American South in 1905, featuring a boy named Lucius (Mitch Vogel) who, against his better judgment, sets off with a couple of older-but-not-wiser friends in his grandfather's stolen automobile to visit the wicked city of Memphis. In no time he is holed up in a local bordello, trying to help win back his grandfather's car in a desperate horse race.

At the center of Lucius's worries is the man who talked him into the whole adventure, Boon Hoggenbeck, who wants the car to impress one of the pretty Memphis prostitutes he has set his cap on. "He knows no obstacles, counts no costs, fears no dangers," Grandpa (Will Geer) warns young Lucius of Boon.

Okay, that does sound like McQueen the way Gramps put it there. But McQueen's Boon is more of an overgrown boy than stolid icon. A bucolic coming-of-age comedy based on a William Faulkner novel, "The Reivers" seems McQueen's attempt at stretching out from action-hero mode. He's quite a bit of fun with his sometimes outsized comic reactions, a bit old for the part but certainly a capable center in what amounts to his first ensemble piece since "The Great Escape."

Director Mark Rydell made life-affirming American-heartland flicks that celebrate homey characters and downhome values, and "The Reivers" certainly fits his oeuvre. He is abetted wonderfully by the sunny lenswork of Richard Moore and a graceful, jaunty score by John Williams. In its elegiac, serio-comic tone, it is a lot like the film McQueen chose to make this over, "Butch Cassidy And The Sundance Kid."

More a situation than a story, "The Reivers" introduces us to a shifting cast of characters and lets each spend some time with the viewer. Some leave stronger marks than others.

Rupert Crosse leaves the deepest impression as Lucius' distant black relative Ned, who drives Boon crazy asserting his rights as a member of the McCaslin family by virtue of a great-grandfather who impregnated a slave. Ned is a proud man who likes to push his point beyond the bounds of reason, stowing away on Grandfather's car when Boon and Lucius make their Memphis trip.

"If I wait until I'm invited I'll never will go anywhere," Ned points out when Boon tries unsuccessfully to toss him. Ned is the agent provocateur in "The Reivers," somewhat dangerous in his ways but valuable, too, played with a vulnerable, humor-filled grandeur by Crosse, who got an Oscar nomination for his work. You laugh more with him than at him, but it's a bit of both.

Where "The Reivers" goes a little wrong is with some of the other characters. Sharon Farrell is the proverbial prostitute with a heart of gold who bonds with Lucius, while other smaller parts are filled by memorable character actors who get little to do. "We were a pleasant and courteous people, tending to our business," Burgess Meredith explains in the voice-over narration, and often they seem a bit too much of just that. Even the bad guys, like a racist sheriff played by Clifton James, seem a bit toothless and too-easily- handled.

Still, I enjoyed this film, if more around the margins than in the main. It's not unusual to see McQueen wielding a pistol, but it is to watch the target josh him about his lousy aim between shots. Aided especially by Crosse and Vogel, "The Reivers" isn't maybe as wise or knowing as it tries to be, but does leave you with a warm and fuzzy feeling that doesn't stale with repeat viewings. A sleepy charmer, it shows even a king can make for a capable jester once in a while.

This is an enjoyable old fashion type of adventure they just wont make anymore outside of a Disney adaptation. It's based on a William Faulkner story, his last I believe, and may be slightly autobiographical. I always saw this movie on television in the 70s & 80s and didn't realize so much of the film was cut and watered down for TV. The video VHS/ or DVD is much more complete and has more uncensored dialogue as well as including excised TV scenes such as when the trio arrives at the 'bordello' and Lucius is introduced. While the movie takes on a Disney or Hallmark heritage type of look it is not that. It is much more mature with spicy dialogue as mentioned and mature scenes that round out a longer running time. One thing I noticed is that this movie hails from 1969 when certain sexual situations were now being allowed in American productions. This movie reflects this change, while being basically family fare it 'just' escaped an R rating presumably as the MPAA system was still new and unfamiliar with how to rate certain subject matter. If this movie had been made just four or five years before it no doubt would have captured the rural early 20th century innocence familiar to Faulkner but the sexual situations, which make the story more believable, wouldn't have been included. Alas this is a great movie to have in your collection to take out and view when you're lonely and want something to look at or if it's raining outside. ***1/2 stars and it deserves to be much more well known than it is.

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 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.

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.