Junior Bonner : Le Dernier Bagarreur

This is one of my favorite films from one of my favorite directors, and starring one of my favorite actors. I saw a lot of parallels to my own life in this film and the road I have chosen for my own life. The simple fact that JR Bonner lives for "the ride" is really what this film is all about. He continues to ride even though he's past his prime, and still acknowledges his father amidst the division he finds upon his return home. His disenchantment with changing times is very evident here, as this part is pure Peckinpah, who lived and thrived in the western genre for most of his filmography. This theme of what the west has become and what it is becoming has been a theme of inspiration for Sam Peckinpah's films throughout his barely twenty year career as a director. The Father/Son relationship between Junior and Ace strikes a chord with me, especially during the cow milking scene when the Bonners lose, and Ace says "We could've won it", and Junior says "We did Ace". It is profound, and gets me to thinking of my own Father, whose Footsteps I walk in and took after even in my Mother's disapproval.

Junior's sole mission in this film is simply to ride "Sunshine", the bull no man ever rode, and his failure to do so continually haunts him, even as he rides the bull and finally succeeds by staying on the bull for the 8 seconds required. His family situation is a backdrop of events leading up to this triumphant moment that motivates him to continue down the road, and follow his own destiny.

The scene between Steve McQueen and Joe Don Baker where Curly (Baker's character) slugs Junior onto the floor of the Palace Bar is a key moment as well. The two are feuding brothers, one becomes a businessman, and destroys the Matriarch of the family's house (Ace Bonner, played wonderfully by Robert Preston). The other (McQueen) follows the path of the Father, not really being around or being there for his family, but wants to. When Curly invites Junior into the real estate business, and Junior refuses lets you know that Junior is his own man. Curly lashes back by saying "I'm working on my first million, and you're still working on 8 seconds". That lets you know who Junior Bonner is, and who he has chosen to be.

Junior has a love for his Father the rest of the family can't understand, he even gives up over half his winnings for riding Sunshine to buy his Dad a plane ticket to Australia to start a sheep farm. This film has a lot of themes in it; changing times, division of family, and dedication to something when you are no longer on top. It is a true interpretation of the life of the rodeo cowboy. It's a shame this film did not do well when it was first released, I guess it was ahead of its time like Sam Peckinpah. I totally recommend this film because it, like The Ballad of Cable Hogue was unexpected and unpredictable, like its maverick director.

'Junior Bonner' was made in 1972 and set in a then contemporary Arizona; but in many ways, it is a true western. The real subject of most westerns was not cowboys and injuns, but the passing of an era; and in this film, about a star rodeo rider, this is typified by the contrast between his father (a man for whom the skills of the ring were also the stuff of everyday life) and his (prescient) brother Curly, hustling for his first million by selling real estate to easterners with no feel for the land. Director Sam Peckinpah is best known for excessive movies like 'The Wild Bunch', but here he plays a surprisingly restrained hand, and the film has a low key, believable feel. As often, Steve MacQueen (who plays the eponymous hero) doesn't really appear to be acting, but simply fits into his role. One thing that's interesting is how far away, to a modern audience, the world portrayed seems, now that the Curlys of this world have transformed the western states into America's fastest growing suburbs; and certain incidental details particularly bring this home: Junior enjoying a relaxing beer while driving, or even the fact that the leading character is called J.R. and his mother Ellie (dating the film to an era before 'Dallas'). In fact, as westerns go, this one is unusually subtle and unromantic; but now seems as historical as any drama set on the frontiers of a hundred years before.

This is a really odd film directed by Sam Peckinpah. While there is an almost cult-like aura about him by his fans, this film may upset many of the "Peckinpah-sters" who are expecting the usual Peckinpah style. In essence, the violence is practically gone--no one is killed in the film and the amount of blood shed is very little--though there are a few of the trademark slow-motion shots. In addition, the film is set in the West, somewhat of an obsession for Peckinpah, but in the modern age.

The story is about an aging rodeo star whose better days are far behind. Now he's broke and coming back to visit his home town. The narrative is far from traditional, as not a whole lot really occurs in the film--instead it's like a slice out of the life of the leading man (Steve McQueen) during this small time period of just a few days. Instead, you learn about his rather dysfunctional family--his father (who was also a rodeo star long ago) who STILL needs to grow up, his greedy brother and his long-suffering (and a bit stupid) mother. None of these characters are particularly likable and it's all a bit sad, though it also does seem rather true-life as well. The characters, though horribly flawed, are much more real than you'd find in other films. Too bad, however, that they never do much of anything.

Overall, a very slow-moving film that was obviously a labor of love for the director but which probably won't appeal to most people. Yes, it's a realistic portrait of a strange piece of Americana, but many just won't find much reason to see it--not that it's bad, mind you, it just never rises above the level of "meh...". Still, not a bad little film.

How much you enjoy the film overall depends on your interest or affection for the rodeo but there are some really fine performances. McQueen is excellent, a bruised thoughtful performance, but Robert Preston and Ida Lupino really take acting honors as his parents. The scene between them on the stairs is an example of what great actors can do to make characters live on the screen. Something that helps sell the story is that the two of them really look like they could be Steve's parents. Junior's a rambler who is happy to go his own way but finds the modern world getting in the way. A subtle drama of the kind that is rarely made today.

I first heard of this film on a trip to Prescott for the 1973 rodeo. Three days of hard liquor, sex and wild livestock (I had sat out Woodstock in an NYC jail and had to make do) Of course the film was all the buzz but the highlight of '73 was an ill-advised visit by a chapter of Hell's Angels who didn't know the locals carried side arms. They had a most humiliating exit. The former territorial capitol, a moribund Prescott sat between the exhausted gold fields in the mountains and the ranches suffering from poor beef prices out on the high prairie. The Palace Bar was the queen of a raucous grouping of saloons on Whiskey Row. A place to rub elbows with crazed prospectors and working cowboys. The town's only nod to modernity was a Western Auto Parts store and Sears Catalog outlet...I don't think they had a McDonalds.

Today the faceless crowd savors its victory. The ranchers cried "uncle" and gave in to the developers or joined them. Whiskey Row in name only the bars have become boutiques and the Palace is a salad bar. The city groans in gridlock under the traffic of her sprawling suburbs. Street widening has obliterated the familiar or bypassed now inaccessable charms. Strip malls and the usual fast food joints line the approaches for miles and miles. A flood of California retirees have raised the costs and codes to push Jo Don Baker's trailers to rural ghettos ranging thirty and forty miles out. Phoenicians have taken the old gold camps for summer homes and condos. The once unbroken mountain views and sweep of prairie are dappled blurs of asphalt shingle, stucco and neon. A straggling herd of antelope (a protected species) are under edict of removal in one housing developement and if Junior Bonner comes back to town he better be driving an Escalade.

The film is a poignant story proven true. I haven't the heart to revisit the rodeo.