WILD ROVERS (1971)

Low-key, downbeat, yet consistently involving; an unusual Western, and an unusual film for Blake Edwards. With William Holden, revivified after THE WILD BUNCH/’69, and Ryan O’Neal (in-between LOVE STORY/’70 and WHAT’S UP, DOC?/’72*) as cowpokes on Karl Malden’s cattle ranch, shaken by a close brush with mortality when another hand dies after his horse gets spooked in the corral. A what’s-it-all-about moment they process by deciding out-of-the-blue to rob the local bank & take off for Mexico, a criminal lark that starts pretty well. But there’s lots of territory between Montana and the Rio Grande, plenty of time for a posse or fate to catch up. Edwards, who soloed on the script, must have had John Steinbeck’s OF MICE AND MEN in mind: Holden as sensible George; O’Neal the childish (if not mentally handicapped) Lennie, with a puppy standing in for that famous pet rabbit. He doesn’t press the connection, but it's hard to miss in the generally fine screenplay. Not every comic aside lands comfortably, but better that than pretentious ones; and the brief action scenes immaculately staged & edited. Plus bonus value as Holden gives O’Neal acting lessons in character shading; and in seeing just how quickly O’Neal picks up on it. (He’s transformed from LOVE STORY.) Gorgeously shot by Philip Lathrop (arguably too gorgeous, Edwards no doubt, couldn’t resist), and a fine score from Jerry Goldsmith that rings more variations on ‘Old Paint’ than Aaron Copland ever thought of in his ‘Billy the Kid.’ Memorable stuff.

DOUBLE-BILL/SCREWY THOUGHT OF THE DAY: *Unlike Holden & O’Neal’s hot-streaks, Edwards was in career meltdown, turning out fascinating work the studios butchered & the public rejected. While GUNN/’67 and THE PARTY/’68 were over-looked chamber pieces, DARLING LILY/’70 was a real Hollywood fiasco. Studio meddling stripped half an hour off ROVERS (now restored) while just about everything on THE CAREY TREATMENT/’72 was dicked-up. (Edwards tried to have his name removed.) Then his fine spy romance, THE TAMARIND SEED/’74, got unfairly dissed by audiences & critics. Hence his ‘run for cover’ with RETURN OF THE PINK PANTHER/’75 and major resurgence after his own brush with commercial mortality.