Wednesday, May 5, 2010
Genuine As A Sunrise
I drove across this country when I first moved out to L.A. I guess that was a long time ago now and while I’d love the chance to do it again I know that isn’t going to happen any time soon. But I still have fond memories of that week, a brief point in time where everything seemed to be out in front of me, every possibility in the world seemed, well, possible. On one of those days I drove from Santa Fe to Vegas in the space of what must have been around twelve hours, barely stopping at all except for gas and food a few times. It felt like freedom.
Sometimes I feel regret and sadness, wondering about things that have happened in my life, wondering just what’s happened to the world. Things just feel more intense now, nastier too and there’s really nothing that can be done about it. I wish there was. Though I’d heard of Sam Peckinpah’s JUNIOR BONNER I’d never actually seen it until the New Beverly ran it several weeks back. Unlike what would be expected from your typical Peckinpah film it’s so gentle, so human, so humane, that I find it all immensely moving. It’s about as truly earnest a film as I’ve ever seen and it makes me wonder why that’s become such a bad thing in this world.
Rodeo rider Junior “JR” Bonner (Steve McQueen) is reaching that point where he’s just about to be too old for what he’s doing, told that he’s “just not the rider he used to be a few years back.” He returns home for the town parade and rodeo only to find his father’s home bulldozed by his own brother Curly, (Joe Don Baker) an entrepreneur who is taking the property to develop it for mobile homes (“The thing of the future.”). While trying to reach a deal with rodeo owner Buck Roan (Ben Johnson) to have another try at the meanest bull in the show, JR meets up with his mother Elvira (Ida Lupino) and father Ace (Robert Preston) who are estranged yet still very much a part of each other’s lives. In spite of Curly’s overtures to get him to join up with the business so he can stick around, JR is fully determined to successfully ride this bull at this rodeo so he can make a little money and once again head out on the road.
You know how in some movies the hero drifts into town and for the first five minutes everyone is so relaxed with each other only to soon see it all ruined by the bad guys? Those bad guys never turn up in JUNIOR BONNER, a film originally released in 1972 where that easygoing feel continues all the way through with the only real conflict being what’s going on between this family and the siblings who clearly disagree with what should be done with all these “wide open spaces” out there. Curly is at least thinking somewhat about the future in a way that I suppose is responsible and he’s even making an earnest attempt to keep the family together, though I get a feeling that he also has the ulterior motive of trying to get the entire family under his thumb as well. This guy may be a success at business, but he’ll never be any sort of patriarch. It’s the soft-spoken and straight-shooting JR who knows what the freedom of those wide open spaces means and what it means to his father, who has plans to go prospecting in Australia, even if it would never be something that either of them would put into words. With a subtly engaging screenplay by Jeb Rosebrook (one of the writers on THE BLACK HOLE, of all things), there’s very obviously a lot of unspoken backstory between these people—the jealousy Curly obviously has for the bond his father and brother share, whatever’s happened between Ace and Elvira—just like there would be with any family but it’s not something we need spelled out for us and the structure of the script wisely delays the reunion of father and son so it feels all the more potent when it finally does happen. All that matters is this one day we see them, a day where JR is arriving home totally broke and busted which he doesn’t want to admit to yet he can’t stop what he is, someone who just wants to go down his own road living the life of a “motel cowboy” as someone calls him at one point, sometimes sleeping under the stars, ready to go for those eight seconds one more time.
Not much happens in JUNIOR BONNER. Or maybe everything happens. It pauses for a long stretch to just observe this rodeo, in no hurry to move on to the next plot point. The big action scenes are really just JR’s encounter with some bulldozers taking down his father’s house as well as a bar fight and not even a particularly nasty bar fight. It feels like the most optimistic portrayal of humanity Peckinpah ever allowed himself to present and maybe shows the most of the best part of him as the person he was as well. Watching the film amble along, gaining in resonance with each scene, it reminds me how movies have become much slicker in recent years but since the world has too that’s kind of unavoidable. It’s a minor point but in the recent country singer saga CRAZY HEART Jeff Bridges has a modern day cordless phone in his house, not some old rotary thing like some people used to in films. Things have changed whether we want them to or not. JUNIOR BONNER is set at the time when that change is coming but that sense of something is still there, it was still tangible. At a certain point there’s going to be no denying that but maybe they (I? We?) can put it off for a while longer. The future is coming and while what Curly is trying to do to this community is going to be pretty garish it’s obviously nothing compared to what’s out there today in the world (the setting is a small town in Arizona—I’ll refrain from commenting on that state right now). Like all the best of Peckinpah, JUNIOR BONNER is about something that is dying out to make way for the heartless onslaught of what’s coming so we need to pay attention to every small gesture and remember…just like now we need to remember the movies that Sam Peckinpah made. There’s a use of freeze frames near the end that I find quietly moving not only in the context of this story but how it makes me think of how this type of character story has become so anathema in this day and age. And I love that final line, I just love it.
I finally got the chance to see this film several weeks ago when it ran at the New Beverly on a double bill with Tarantino’s JACKIE BROWN (guess which one had the bigger crowd—those who came only for the second film missed out). The pairing might seem odd at first glance but Tarantino himself has spoken of his fondness for JUNIOR BONNER, screening it in Austin and relating the initial response that this gentle, elegiac piece got at the time to how his own J.B. picture was received on its release, also a gentler, more mature film from someone that audiences expected a crazier, more violent ride from and a good reminder of how much more is ever going on in some of these director’s films than is often considered on first glance. But as Peckinpah himself observed some time later about its failure, “I made a film where nobody got shot and nobody went to see it.” JUNIOR BONNER isn’t about the tragic endings that a few other Peckinpah films end in, it’s a small piece of life in progress that may show someone putting off the inevitable but fully determined to live on his own terms, out there on the open road, for as long as he can.
Steve McQueen is about as cool as it ever gets, that’s for sure, and you feel his character not from what he says but from every single steady step he takes through each scene and every slow glance he gives someone. He’s living this guy, he is this guy. Joe Don Baker underplays things beautifully never exactly getting us to like him but we can sense that bit of resentment he feels that he’s trying to keep buried. Robert Preston hits all the right notes as the big talking Red, a star among all the people who know him in this small town and Ida Lupino (making her first screen appearance in years at the time this was made) feels so genuine that it’s hard to believe she was once a movie star—it’s like they just showed up at this woman’s house one morning and rolled film. Playing Charmaigne, the girl who catches JR’s eye, Barbara Leigh doesn’t do much but it’s hard not to gaze at her and her long, straight hair. Familiar faces like Ben Johnson, Dub Taylor and Bill McKinney fit in perfectly with this world.
Thinking about Sam Peckinpah’s JUNIOR BONNER, a film I’ve finally gotten around to seeing, makes me think about how I’m continuing to discover films like this and falling for the smaller pleasures that can be found in them. It can lead to some pretty rich rewards if I look hard enough and with the summer movie season about to start I’m fairly certain I’m not going to find any such rewards in those movies. The films that I’m looking for can be found on their own open road that I sometimes drive down, looking for what I haven’t seen yet, reminding myself how special some of them can really be. Like JR Bonner himself, it’s something that I have to do.
Posted by Mr. Peel aka Peter Avellino at 9:16 PM
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Well said! I really enjoyed your heartfelt review of this underrated gem. Turner Classic Movies has shown it a few times as of late and that's how I was first introduced to it and was pleasantly surprised at how against type it was for a Peckinpah film. It really showed a more thoughtful, reflective side of the auteur and it's a damn shame that it wasn't better received. Hopefully, its time is due.
Interesting comparison to JACKIE BROWN. I never thought of that before but it makes perfect sense if you think about it.
I also agree with you on how much the world has changed and how harsh it has become. Maybe it was always that way and we are just more acutely aware of it but I find myself more interested in losing myself in a good film (or book) when I get home from work and less interested in watching the news - it's just way too depressing and disheartening. Sometimes, ignorance really is bliss.
Very well covered, Mr. Peel.
I particularly like the small moment in the picture when Preston and Lupino briefly confront each other on the exterior landing above the bar -- I think it's after the brawl -- and they mostly simply look at each other. Then they just both walk upstairs, presumably to his room. The camera doesn't follow, but we know where they're going, and why.
It would be nice to see Tarantino do something subtle along this line at some point. [No disrespect intended.]
The slow box-office performance of JUNIOR BONNER in 1972 was not aided by the fact that ABC had exited the movie biz; the Peckinpah film was the last of the network's original ABC Pictures releases. It could have received a bit more support, I think.
This is a terrific piece, M.P. You've made me really regret that I couldn't be there at the New Bev to see Junior Bonner, a film that I too have so far missed, yet at the same time you've inspired me to make sure I see it the next chance I get. The way you describe it, it is seems essential. And frankly, I didn't expect to be moved to tears when reading your assessment, but that's just where your final paragraph took me. Thanks, man.
And thanks too for the gallery. That first shot of Barbara Carrera is, um... real pretty!
I was hoping you would review this, it's one of my favorites. You're right that very little happens in it, and it comes dangerously close a few times to being a "hang out" movie. Every scene in the bar is bliss, from his first glance of Charmaigne, to the fight that starts out mean and gradually moves to a friendly (almost sexual) energy.
A few years ago I tried to put together a post all about parades in Peckinpah movies, but it didn't come together. Ride the High Country, The Wild Bunch, The Getaway and Junior Bonner all have parades, with the latter being the absolute best.
"Junior Bonner" is one helluva picture (& so is this essay).
Your BONNER post aced a mention in James Wolcott's blog in VANITY FAIR on line:
Best... damn... review of this absolutely wonderful film I've ever read, Mr. Peel. It is one of the films I saw during the summer '72, a period that continues to tug at me. Every time I watch it, I'm taken back to that period of my youth. It's one of those films, when its end credits show up on the screen, I'd want to look at my surroundings and want to remember what I've just seen, and that moment. Though there were not many in the theater when I took this in, I still can recall when that first portion of the climatic bullride arrives and Peckinpah shows us that agonizingly slow clock, you actually heard everyone there catch their breath. How many times does that happen anymore?
I like to think what I see in this film is a small, precious bit of the director that he'd let out and share only on those rare happy occasions. The serendipitous fact that a equally marvelous cast came together to inhabit each of its frames remains magic in a bottle for those that enjoy it. It makes me very happy that you finally experienced it and shared your thoughts about this movie. Thank you very much for this, my friend.
Congratulations on the Wolcott mention!!!!!! That was one hell of a big swath of text he highlighted!
Not sure what to make of the JACKIE BROWN comparison. Okay, I'll just say it: it's ridiculous. I mean: please. A terrible idea for a double-feature.
This is my favorite Peckinpah movie, rating slightly above BRING ME THE HEAD.
If you like this movie, go back and revisit John Ford's DONOVAN'S REEF and SUN SHINES BRIGHT and Nicholas Ray's LUSTY MEN. Those movies have infinitely more in common with BONNER and what they have in common is important and unforgettable: an understanding of the passage of the time and what it means to human beings who can do nothing to stop it. And you'll see the metaphors of rodeos and parades used to the same wonderful effect.
The James Wolcott thing has really thrown me for a loop so I'm feeling kind of speechless right now. But thanks to each of you for your wonderful comments and very kind words about the piece. It really means a great deal to me. I'm starting to think that I should go rewatch a few Peckinpah films that I haven't seen for a while.
As everyone else said in one way or another, a beautiful piece. I too have really come to appreciate the smaller moments that you mention are in such abundance in a piece like JUNIOR BONNER. It's been a good 12-13 years since I saw this for the first time when I was in college and it sounds like I definitely need to revisit. Thanks, Monsieur Peel.
And many thanks to you too Ned! I'm very, very touched by the response to this one, it means more than I could probably put into words. It's great that people are saying that they want to seek the film out now. It deserves to have more people discover it!
I came to the site via Wolcott's link to the review (and I'll add it to my feeds) which is kind of fitting in a "Junior Bonner" sort of way. "JB" always struck me as more than just Peckipah's hat tip to a romantacized and departing way of small town life. There's something of himself in the picture, too -- his owm early life in Coarsegold at the rench, but also the way in which his art put him on the road from his family. You can imagine Peckinpah's identification with JR and Ace, and his affection for Elvira, but what is most surprising is Peckinpah's generosity toward Curly, a man who aspired to become what Peckinpah despised and rebelled against -- a man in a suit with all the money and authority. Yet there is ultimately sympathy toward Curly who is as powerless to stop change as Junior, Ace and Elvira. Like all Peckinpah films, there is a bleakness to JB, as you see in the major characters the only responses left to us in the face of change -- keep moving like Junior, flee into fantasy like Ace, endure stoicly pretty much in place like Elvira, or be co-opted like Curly. Oh well, no whines much in "JB", so I guess I won't. "JB" also feels like Peckinpah's mea culpa for his own failings as a husband and father, as Ace and Junior collectively represent the impossibility of living that settled-down quiet life for someone with so much fire in the belly.
Thanks very much for your comments, you've made me think even more about this picture. There is sympathy for Curly, absolutely, but he seems to fall out of the final scenes of the picture. Is it because Junior is who we should be focusing on at that point or is the film just disregarding him as irrelevant? I don't know, but I like the way you put what Ace and Junior feel they have to do and it sheds some light on Peckinpah as well.
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