Tag Archives: Walter Hill

The Driver (1978, Walter Hill)

There are limits to how much patented Walter Hill machismo one person can take and The Driver pushes its limit early on. Well, maybe not too early on, since the movie runs ninety minutes. It doesn’t help Ryan O’Neal doesn’t talk, Isabelle Adjani chokes through her English dialogue, and Bruce Dern turns in an exceptionally lousy performance. Dern’s bad acting is is a giant flare warning one away from The Driver. No one trying to make a good film–I mean Adjani’s character could just be learning English too–would allow Dern’s performance. But Hill isn’t trying to make a good movie. He’s trying to make a tough, macho movie, making his casting choice of O’Neal hilarious.

O’Neal’s not particularly bad–since he doesn’t have much dialogue, there’s a lot less of a chance it’s going to be as terrible as the other characters’ dialogue–but he looks lost. His expression reminds of a deer trapped in the headlights, or an actor who stumbled on to the wrong set one morning and couldn’t get off.

Hill spent a lot of time choreographing his chase scenes, but they’re not any good. They’re gimmicky and boring. He reduces the police cars to objects, not vehicles containing people, in an attempt to desensitize the viewer for when O’Neal causes the cop cars to flip over or crash. Then he makes the cop hunting O’Neal (Dern in that atrocious performance) a vicious, corrupt bastard, so the audience will immediately side with baby-face O’Neal. I mean, he was in Paper Moon, after all.

Maybe if Hill’s direction weren’t so artless, The Driver would be a little more tolerable. There’s a mythic director’s cut to the film, running thirty minutes–thirty terrible minutes, I’m sure–longer. I can’t imagine how much more bad dialogue, boring action and lousy performances one film could contain. Dern’s real bad in this film, I’m not exaggerating; it’s one of the worst performances I can remember seeing from a movie not lensed in someone’s backyard. And even the music’s bad. But on the plus side, I think the opening titles were competently presented. No visible misspellings or capitalization errors.

0/4ⓏⒺⓇⓄ

CREDITS

Written and directed by Walter Hill; director of photography, Philip Lathrop; edited by Tina Hirsch and Robert K. Lambert; music by Michael Small; production designer, Harry Horner; produced by Lawrence Gordon; released by 20th Century Fox.

Starring Ryan O’Neal (The Driver), Bruce Dern (The Detective), Isabelle Adjani (The Player), Ronee Blakley (The Connection), Matt Clark (Red Plainclothesman), Felice Orlandi (Gold Plainclothesman), Joseph Walsh (Glasses) and Rudy Ramos (Teeth).


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The MacKintosh Man (1973, John Huston)

Imagine a spy thriller without any spying, without any thrills, without even any mystery, and whatever you come up with… it’s still probably more engaging than The MacKintosh Man. In the post-VHS era, MacKintosh is fairly difficult to find. TCM doesn’t run it, Warner hasn’t done a DVD yet. I only came across it on the HD movie channel (which shows it in a pan and scanned 1.77:1 versus the 2.35:1 original aspect ratio). Given it’s a Paul Newman movie, directed by John Huston, I can’t understand why it’s so hard to see. It isn’t because MacKintosh is a bad film–there are plenty of readily available, bad John Huston movies out on DVD and some Paul Newman ones too (though not many from MacKintosh’s era). So, its lack of visibility is a mystery and it’s the only interesting mystery related to The MacKintosh Man.

The film lacks characters. It has a couple great character actors–James Mason and Harry Andrews–and does nothing with either of them. The female lead, Dominique Sanda, has no chemistry with Newman and she’s a low talker too, so some scenes are unintelligible. Most of the first half–until Newman gets to drop his faux Australian accent–is told in summary. Lots of fades. There’s one point, just into the second act, once I’d realized how the film was playing out, when Newman makes a friend. Oh, it’s great. The friend is there for two scenes, then he disappears. It’s the best stuff in the film.

Besides being boring–and MacKintosh is boring not just because of the storytelling or Walter Hill’s script, but because Huston dilly-dallies. He doesn’t have to dilly-dally either. There’s a great car chase. His shot composition is good too, though it does remind a little of The Third Man in parts.

I’ve seen Newman’s other spy movie–Hitchcock’s Torn Curtain–and I don’t remember much about it, except it wasn’t good. I was just discovering Newman at that time and I was excited to see him in a Hitchcock picture, then… well… then I watched Torn Curtain. It’s possible he just doesn’t work in the spy role. Newman’s performances tend to require the viewer to examine him–I’m thinking of the great H-films, Hud, The Hustler, and Hombre. Spy movies, good and bad, do not work in that manner. Still, even with Newman’s miscasting and Huston’s lolly-gagging, it didn’t have to be so bad….

Oh, and Maurice Jarre’s score. Near as I can tell, he composed two short pieces of music for it, then used the second one over and over and over again.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by John Huston; screenplay by Walter Hill, based on a novel by Desmond Bagley; director of photography, Oswald Morris; edited by Russell Lloyd; music by Maurice Jarre; produced by John Foreman; released by Warner Bros.

Starring Paul Newman (Joseph Rearden), Dominique Sanda (Mrs. Smith), James Mason (Sir George Wheeler), Harry Andrews (Mackintosh), Ian Bannen (Slade), Michael Hordern (Brown), Nigel Patrick (Soames-Trevelyan) and Peter Vaughan (Brunskill).