Bobby Deerfield

I'm surprised to see it's actually not a racing movie but a love story, and a rather good one and among the few that did Pacino. Sure, for the asphalt lover, you will have a excellent introspective of a pilot(the danger, the uselessness of making circles) and a good retrospective of what was F1 in the late 70s. But, it's above all a dramatic romance that happens in Europa (Paris and Firenze essentially).

As it's an early Pacino, he's the nervous, a bit cold and not smiling easily actor of that period. What's interesting is that her girlfriend will change him as a more cool, compassionate that's actually the old Pacino. The good thing also is that the girlfriend is very funny, free, careless and it's a big change from the usual romance, even as if Al says, she's a bit difficult to follow. In addition, Marthe Keller is a fine woman and it's also the proof that charm doesn't mean sex appeal. Another thing that catches my eyes is the carefree way of life of those times(drinking, smoking) and the flashy fashion. In a way, it's like the rebellious generation of the sixties has reaches adulthood without losing their conviction. So, explain why now, in the 10s, everything is forbidden and it's the time of the dark suits!

Boredom, ennui, and ridiculous method acting (yes, even from Al Pacino) combine to make THE worst movie experience I have ever had. I found absolutely nothing to relate to with any of the characters. The cinematography was among the least imaginative ever. And, the nonsensical script and sophomoric dialogue are even worse than the acting and direction -- and that's not easy to achieve. What a total mess!!!!

The film at the beginning shows a man who is basically incapable of letting go of the control of his destiny, of all circumstances, radically removing himself from his true self, his soul, his freedom, his soul was dead, then he goes through a little transformation throughout the film, and what died in the man at the end was his false self, his self constructed personality and image, so that his real self could come to life. Now he was facing the way out of his tunnel, to be open to and not resist all possibilites. The film's slow pace and meandering style showing all kinds of things that may not seem important to anything in the film beautifully reflects in a poetic way the openness to all possibilities the viewer himself is meant to face as well, just like Bobby at the end of the film, when he's coming out of the tunnel of his own self imprisonment.

Come out of that tunnel and you'll feel this film speaking messages in hidden or subtle ways. That's what life is about. To be open to all possibilities means no expectations and control of all things to come. The trust in the universe comes with the death of our manufactured self, the woman dying in the film was like a message to Bobby Deerfield, like a mirror of his own death he had to face to become born again. Life and death is part of the whole, to fear death is to fear life.

Some could take this film as a message to motor racing these days as well, or any sport or part of life, how too much protection can take away from life, it kills the human spirit. People seek danger so they could feel at that orgasmic crossing point between life and death so they could feel alive.

This film was reflective of my own healing, I was going through disabilities and challenges of my own physical body. Years passed and one day at that time I decided to stop feeling sick, to get myself out of the prison of my mind, and miraculously what happened is that my body started getting back in shape, and at the end I was becoming more connected, more open, exuberant. I stopped seeking explanations, or the truth, I was open to mystery that is life.

I am open to my crazy self now, I let it all come as it may, I live like never before. That is what I took from the experience this film was for me at one time. I can't say this film did it for me, this film was a sign, a divine reminder, a portrayal of the theme and feeling I adopted in my own transformation.

For me, one of the great roles of Al Pacino. and one of the most impressive love story films. for many reasons. in many forms. because it is a film about deep solitude. about escaping from yourself. about hope, in a manner who easyly escapes if you define it as a sport film. one of films reflecting, in inspired manner, the actors behind the roles. and this is one of basic motifs to see it time by time. not for artistic virtues, not for message but for a forme of precious honesty. and it is enough for admire "Bobby Deerfield" as one of admirable films.

In prime 1970s fashion, the beginning of this movie, as well as many scene transitions, are shown with long shots, awkward zooms, lengthy silences, and random cuts. During the first ten minutes, I wondered what I was getting myself in for, besides two solid hours of Al Pacino eye candy. The good news is my hobby of staring at beautiful people on the screen won out, and I was rewarded by a really beautiful film . . . and two solid hours of Al Pacino eye candy.

Ladies, this is what a chick click looked like in the 1970s. A closed-off, cold racecar driver can't resist the kooky, outspoken woman he meets by chance, and his soul learns about love and life. If your boyfriend sits through this movie with you, keep him. There's nothing manly about this movie, even including the very brief racing scene and the presence of Al Pacino.

Somehow, director Sydney Pollack knew exactly what women in 1977 wanted to see and filmed it. Even despite the 1970s camera angles and the European pacing, this movie resonates with women. Every woman wants to meet a man who's lost his passion for life; every woman wants to be able to be completely herself, win the guy, and have him fall so desperately in love with her he'll feel his world will end without her. Every woman wants a man to look at her the way Al Pacino looks at Marthe Keller. Ladies, rent this movie, fall in love with Al Pacino, and then go rent Frankie and Johnny.

On a more serious note, this movie is a drama. I'd hate to recommend it and have some unsuspecting female watch it thinking it's on par with Pillow Talk. It's more on par with Love Story, but it's an infinitely better film. Marthe isn't annoying or riddled with an entitled attitude, and Al has so many layers of love, pain, gratitude, and sorrow in his expressions, it's just rude to compare him to Ryan O'Neal.