Rabbit, Run

Strong performances, especially James Caan at the height of his career, save this film from being a complete disaster. The problem is that the 1950's themes (Updike's novel is set in 1956) seem out of place framed within the 'New Hollywood' of American film making in 1970. Choppy editing and a heavy 70's electronica soundtrack distract from what would otherwise be a fairly strong representation of the new wave of film making (Midnight Cowboy, The Graduate, Bonnie & Clyde) portraying a harsher and more critical view of middle class America. Caan's portrayal of the selfish and immature 'Rabbit' is sympathetic and charming. He is surrounded by a supporting cast that portray hapless, stupid or unlikable people who interfere in his efforts to find fulfillment. These characters are one dimensional and serve only as a means to justify the angst and frustration of the protagonist. (A recurring plot device in the American 'New Wave' cinema.) Worth the watch for fans of Caan or films of that era.

James Caan sells artificial stone facing for homes. His is married to Carrie Snodgrass with a son and a daughter on the way. Miss Snodgrass sends him out for cigarettes, and he moves in with Anjanette Comer.

It's half a century since I read the John Updike novel this was based on and found it a dull affair. To that extent, this is a good film version, because I found it dull. The characters are uninteresting, none of them very good at what they do. That is, I suppose the point of the novel. It came out in the 1960s, the post-war exuberance was fading, and Updike made a mantra of excoriating failure to the general applause of his colleagues on The New Yorker. Updike's pursed-mouth disapproval satisfied the literary lions and critics of the day, at least until he came out in favor of the Viet Nam War.

A good Anjanette Comer performance as a sassy hooker and location shooting in gloriously gritty Reading Pennsylvania in the late sixties are the only things that stand out in this muddled, dull adaptation of a great American novel. Scenarist/producer Howard Kreitsek founders on the same rock that did in Ray Bradbury when he tried to adapt "Moby Dick", and that wrecked the Ravitches when they attempted to bring "The Sound And The Fury" to the big screen, which is that an interior novel, where the characters' thoughts are what principally matter, simply does not lend itself to a MOTION picture where, by definition, action is paramount. In other words, enjoy Updike's memorable book and avoid this very forgettable film. Give it a C.

The subject matter feels a bit too lightly treated and the technical elements of the film are rather ordinary, but 'Rabbit, Run' has some good ideas, especially in regards to detaching from and trying to escape unhappiness. James Caan is good in the lead and the supporting cast is strong, with Arthur Hill and Jack Albertson particular highlights, plus another solid performance in the same year from Carrie Snodgress of 'Diary of a Mad Housewife'. It is the acting and the occasional good idea that keep this film alive, and it might not be a brilliant piece of cinema, but it does have enough good about it to be a satisfying watch.

The year 1970 gave us James Caan in "Rabbit Run" and Michael Douglas in "Adam at Six A. M.". Films with such remarkably similar themes that you have to wonder what the typical young man was thinking during those years and whether it was unique to the times.

Both films center on their title character, Harry 'Rabbit' Angstrom and "Adam" Gaines, who if they aspire to anything aspire to seeing the world in their respective rear view mirrors. Basically making a case for not getting trapped by an easily defined life. While Adam is ambitious and more cerebral about the whole thing, Rabbit just lets life take him in any random direction and then dodges any responsibility or consequence that might complicate his life. There is a lot of Kerouac's Dean Moriarty character in Rabbit, at least with regards to living in the moment and showing little remorse for any wreckage he leaves behind.

"Dean features prominently as a hero. An incredibly flawed hero who tends to abandon those who love him and feel no remorse whatsoever at his poor judgment and horribly timed actions. But a hero nonetheless".

Where Adam anticipates situations and avoids getting trapped in the first place, Rabbit is too wrapped up in himself and his immediate gratification to avoid getting trapped. Adam might fall for a manic pixie dream girl if one came into his life who meshed well with his ambitions. But no manic pixie dream girl would want Rabbit and the more dimensional and imperfect women he meets and recklessly commits to end up simply cramping his style.

Carrie Snodgrass and Anjanette Comer play his main love interests. Both give excellent performances as women tortured by their association with Rabbit. He can't give them what they need in these unequal relationships and neither seems equipped to successfully deal with life on their own. This lack of independence is off-putting to many female viewers who blame author John Updike - who wrote the 1960 novel on which the film is based - for creating such shallow female characters. This is a fair criticism as far as it goes but such people do exist and a story is not necessarily sexist just because its focus is a certain female or human type.

I think this is Comer's best performance. Her typical character is weird in a restrained way and not especially accessible or relatable to a male viewer. But Ruth Leonard is quite likable and earthy, a very regular person. She is Updike's counterpoint to Janice Angstrom (Underwood). Updike is saying that Rabbit is almost sympathetic in his aversion to his wife and his horrible marriage, a put upon hero with somewhat understandable flaws. But his advance and retreat behavior with Ruth is simply inexcusable.