Le sillage de la violence

The team that brought you To Kill A Mockingbird has also given us Baby The Rain Must Fall another southern based drama though the protagonist is hardly as admirable as Atticus Finch. Steve McQueen and Lee Remick star in this film as a married couple trying to make a new start in life after McQueen is released on parole from prison.

McQueen is a musician/singer of sorts and while I doubt he could have a career in big time country music, he doesn't have the talent to make the really big time. You won't see McQueen at the Grand Ole Opry, but he could make a respectable living doing the honky-tonks if it weren't for an ungovernable temper. In the few instances we see it displayed we never do see exactly what sets him off, the film might have been better if we had, we might understand McQueen more.

But the temper is a given and he's on parole. A wife and a daughter who the people of his Texas home town have never met and don't know the existence of, have come to join him. Lee Remick is the patient and loving wife, but she's coming slowly to the realization that this just isn't going to work.

Don Murray plays the local sheriff and a childhood friend who does what he can for McQueen. It's interesting to speculate whether Remick and Murray will get together afterward. Paul Fix has the same kind of part he did in To Kill A Mockingbird as a kindly judge.

If James Dean had lived this would have been a perfect role for him. But McQueen who had a background of foster care, who was a product of the social welfare system raising him, had a lot to draw on for his performance.

Steve McQueen did his own vocals though country singer Glenn Yarborough had a hit from the title song. Better that way then to have a real singer doing it lest the viewer think this guy has the talent to make it big.

Although this is not as good as To Kill A Mockingbird, writer Horton Foote and director Robert Mulligan did a bang up job in Baby The Rain Must Fall.

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 have read the reviews on the title "Baby The Rain Must Fall" and I say anyone who doesn't love this movie is out of their mind, to me Steve McQueen never gave a bad performance, and yes that even includes "The Hunter" and the Campy "The Blob", This film is basically about a dreamer who can't seem to stay on the right side of the law and out of trouble,and Lee Remick, I can never tire of watching her, this is a **** star movie and a real gem

For those of you who didn't like the film, well all I have to say is go watch Howard The Duck instead, because I am sure that is your "Casablanca"

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.