The Last Run (1971)

          The intrigue that unfolded behind the scenes of this turgid thriller is more interesting than anything that actually happens onscreen. Not only was an iconic director replaced with a filmmaker of considerably less distinction, but the leading man left his wife for another woman—and both ladies are featured in the cast. Had any of this tension seeped into the movie’s scenes, The Last Run could have been edgy and exciting. Instead, it’s a slow movie about a man who spends his life driving fast. Make what you will of the irony. In any event, George C. Scott plays Harry Garmes, an American wheelman who spent most of his career driving cars for mobsters in Chicago. Because of some unnamed existential crisis, which was exacerbated by the death of his young son and the infidelity of his now ex-wife, Harry lives in Portugal, drinking and smoking his way through days full of nothing. When he gets hired to drive an escaped convict and the convict’s girlfriend across Europe, Harry embraces the opportunity to see if he still has what it takes. Predictably, this simple scenario gets complicated, thanks to double-crosses, secret agendas, and Harry’s burgeoning romantic interest in the convict’s girlfriend.

          There’s a certain poetry to some of the dialogue in Alan Sharp’s script, and it’s fun to imagine what The Last Run might might have become if John Huston, the project’s original director, had remained involved. Alas, he bailed partway through production, apparently because of friction with the notoriously difficult Scott, and his successor was Richard Fleischer, whose filmmographry includes several enjoyable films but also a number of genuine embarrassments. The Last Run falls somewhere between those extremes; while it’s a disappointment that often gets stuck in the mud of pointless and/or repetitious scenes, it’s never overtly bad. Rather, it’s drab and lifeless and uninspired. Although Huston was at a weird stage in his career, he was an old pro at telling stories about self-destructive men, so it’s tempting to believe he would have elevated the material more than Fleischer did. After all, the story is a quintessential ’70s downer, and Huston rebounded from a creative slump with the grim Fat City a year later.

          That said, the characterizations in The Last Run are so thin, and the narrative events so trite, that perhaps the picture was destined for mediocrity. Scott strikes a spark every so often with his signature blend of anger and ennui, but costars Tony Musante and Trish Van Devere barely register while playing pure clichés—the hotheaded crook and the opportunistic moll. Behind-the-scenes talents do what they can, with composer Jerry Goldsmith’s jaunty score complementing cinematographer Sven Nykvist’s moody imagery. As for that other aspect of behind-the-scenes drama, Scott began production married to actress Colleen Dewhurst, who appears in one scene as a prostitute, and by the end of production, Scott was with Van Devere, whom he subsequently married.

The Last Run: FUNKY

The Hired Hand (1971)

          Easygoing actor Peter Fonda’s directorial career never amounted to much (he’s only made three movies thus far, each of less interest than the preceding), so it’s surprising just how good his first film was. Made at a time when Fonda was synonymous with the counterculture movement, The Hired Hand is a throwback instead of a contemporary tale, but it’s infused with themes that resonate with the “Turn on, tune in, drop out” era. The Hired Hand is also a glorious exercise in ’70s-cinema style, featuring luminous photography by the great Vilmos Zsigmond and an evocative acoustic score by Bruce Langhorne. So, even if the story is a bit thin, the piece is engrossing on other levels.

          Fonda stars as Harry Collings, a world-weary cowboy roaming the West with his amiable pal, Arch Harris (Warren Oates), and a younger man who recently joined their travels, Dan (Robert Pratt). Rolling into a tiny town one day, the three have drinks while Harry explains that he’s decided to quit his cowboy lifestyle and return to the homestead he abandoned 11 years ago. (Harry walked away from his wife and young child because he felt trapped by domesticity.) Before Harry can make his break, he and his companions get into a battle with McVey (Severn Darden), the brutal thug who lords over the small town.

          Dan dies and McVey is badly injured, but Harry and Arch figure the matter is settled, so they head off to Harry’s old farm. The duo discovers that bitter experience has transformed Hannah Collings (Verna Bloom) from a wide-eyed newlywed to a tough frontier woman—she’s understandably ambivalent about her husband’s return. What ensues is a simple but touching story about emotional connections, the obligations of friendship, and the repercussions of violence.

          Even with genuine-sounding dialogue by screenwriter Alan Sharp, who wrote a handful of offbeat ’70s Westerns, The Hired Hand is more effective as a tone poem than as a narrative. Zsigmond’s photography is wonderfully naturalistic, full of blazing colors and moody silhouettes, so the movie looks like an expertly shot travelogue. Editor Frank Mazzola, who receives an unusual credit for “film editing and montages,” works wonders with Zsigmond’s footage, solarizing and/or tweaking speeds to create lyrical passages set to Langhorne’s downbeat melodies—these montages are gorgeous meditations on sensation and texture.

          Perhaps Fonda’s most interesting directorial choice is steering the cast, himself included, toward restraint. Bloom, Fonda, and Oates speak so infrequently, and with such economy, that silences says as much as their words. Similarly, these characters guard their emotions so closely that we find ourselves peering into their eyes for glimpses of inner life. The Hired Hand falls short of greatness because of its lack of ambition and its overreliance on familiar themes, but as a mood piece, it’s superlative.

The Hired Hand: GROOVY

Ulzana’s Raid (1972)

          On some levels, the bleak Burt Lancaster picture Ulzana’s Raid is what critics used to call a “thinking man’s Western,” since the picture’s screen time is divided between philosophical conversation and open-desert carnage. Starring Lancaster as a McIntosh, a grizzled scout who helps a posse of U.S. Cavalry soldiers hunt for a vicious Apache named Ulzana (Joaquín Martínez), the movie explores a deep ideological rift, because some of the Americans view their quarry as little more than an animal who walks upright. However, the inexperienced lieutenant leading the posse, DeBuin (Bruce Davison), struggles to understand his enemy instead of blindly condemning Ulzana. McIntosh exists somewhere between the worlds of these opponents; as a white man married to an Indian, he realizes how pointless it is for a man like DeBuin to try penetrating the Apache psyche.

          Writer Alan Sharp and director Robert Aldrich do a decent job balancing the movie’s highbrow and lowbrow elements. For instance, in the movie’s best scene, a homesteader’s wife and child hurtle through the desert in their wagon, with a band of Ulzana’s braves in hot pursuit on horseback. The woman and child hail a passing Cavalry soldier for help, and, at first, he wisely rides away. Then, when his conscience gets the best of him, he heads toward the endangered whites—and shoots the woman in the forehead, saving her from the degradations these Apaches visit upon their white captives. Attempting to save the boy, the soldier tosses the kid onto his saddle and makes tracks, but one of the braves shoots his horse. Keenly aware he’ll be tortured if captured, the soldier puts his pistol in his mouth and shoots, leaving the boy defenseless. Yet the boy displays such grit defending his mother’s corpse that the Apaches depart without harming the child.

          This nearly wordless scene says volumes about the disparity between two worldviews, communicating far more than even the best-written dialogue exchanges in the picture. A greater number of scenes in this vein of pure cinema would have gone a long way, but instead, Ulzana’s Raid gets bogged down in repetitive vignettes of DeBuin angsting, McIntosh scowling, and Ulzana scheming. (That said, sturdy character player Richard Jaeckel enlivens the picture with his performance as a cynical NCO disgusted by his lieutenant’s naïveté.) Lancaster works a smooth groove blending a grubby appearance with lyrical vocal delivery, adding a bit of poetry to the generally hyper-realistic movie, and Davison’s personification of a man struggling to comprehend the incomprehensible is affecting. Ultimately, Ulzana’s Raid attempts more than it can actually accomplish, so it ends up being an action movie with thoughtful nuances, but since it never slips into murkiness or tedium, it comes awfully close to achieving something powerful. (Available as part of the Universal Vault Series on Amazon.com)

Ulzana’s Raid: GROOVY