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*** This review may contain spoilers ***
Newman once distinguished himself, from Dean by citing the latter's
"lost little boy's point of view," but that is precisely Newman's
interpretation of Billy the Kid
An uneducated, confused, neurotic
adolescent, his Billy has more in common with a fifties delinquent than
with any traditional Western hero such as the heroic, romantic outlaw
played by Robert Taylor in 1941's "Billy the Kid."
The anti-heroic, anti-romantic concept is at the heart of all of Newman's films set in the West The antithesis of John Wayne and Gary Cooper, he never plays conventional cowboys or lawmen, choosing instead notorious types (Butch Cassidy, Judge Roy Bean), outcasts (Juan Carrasco in "The Outrage," John Russell in "Hombre") or modern anti-heroic Westerners (Bannon in "Hud," Jim Kane in "Pocket Money")deviants from normal Western society, with their own standards of justice and morality
The psychology of the outcast is also a preoccupation of director Arthur Penn, who made his film debut with "The Left-Handed Gun," and who continued portraying outsiders in films like "Bonnie and Clyde," "Alice's Restaurant" and "Little Big Man." From the opening scene, in which Billy emerges from the horizon, a struggling, lone wanderer, his separateness from others is constantly stressed Like other Newman protagonists, he's a man (or boy) drawn into himself, an island of introversion largely separated from humanity
Penn is also known for his skill at conveying character and psychological states through physical gestures and movement, and here too he is well-allied with Newman (and with the Method). Billy is fairly inarticulate, bewildered, sometimes almost half-intelligent, in his speech, and animal-like in his movements (in this he resembles Rocky Graziano in "Somebody Up There Likes Me"). Emotionally frustrated, inwardly directed, struggling to release his feelings, Billy "speaks" in terms of heightened physical actionintense facial expressions, clear and explicit gestures, extensive body movementsculminating in violence Unlike Rocky, who learns to channel his instinct for violence into an acceptable outlet, Billy can only kill
Characters like Rocky and Hud rebel because of father-hatred, but Billy becomes violent because he is deprived of a father As a child, he was abandoned by his father and raised by his mother, whom he worshipedso much that at age eleven he killed a man for having insulted her Now alone, defenseless, a "lost little boy," he is befriended by the kindly Tunstall (Colin Keith-Johnston), whom he comes to admire When Tunstall is killed, Billy can respond only with wordless anguish
This is one of Newman's most inspired moments, as he progresses from a tortured expressionhis head spiraling toward the ground in painto thoughtful tranquility, and finally to vengeful anger
Without considering morality or the consequences, he decides that he must become the law and kill the four men responsiblerepeating his childhood revengeand thus he turns into a notorious outlaw
"The Left Handed Gun" is only occasionally pretentious and self-conscious; more often it is exciting, vibrant, even exuberant Billy's instinctive sense, released in violence, also finds a stream flowing from eruptions of adolescent joy One scene is worth citing, because it represents a rare instance of improvisation in Newman's work Shortly after Tunstall's death, Billy learns the names of the men he will go after, and his intense mourning turns to agreeably rough jubilation: he marches around with a broom, singing, laughing, joking Penn calls it "ecstatic grief."
Penn's "The Left Hunded Gun" remains one of Newman's best films, and it marked a major development in his acting abilities, indicating gifts for improvisation and superb physical performing The motion picture is also a rare instance of the perfect director-actor confluence, and it's unfortunate that Penn and Newman have never worked together since
*** This review may contain spoilers ***
The picture talks about the most famed gunslinger of the southwest ,
Billy the Kid (Paul Newman) , being cinematic directorial debut of
Arthur Penn and first film for producer Fred Coe . The movie is
faithfully based on real events . Billy Kid was known by several names
, but mostly as William Bonney . Billy became a cowboy in Lincoln
County (New Mexico) , for cattleman Tunstall (K.Johnston and after
playing by Patric Knowles and Terence Stamp) who was supported by
McSween (John Dierkes) and Chisum (subsequently interpreted by John
Wayne). Tunstall was murdered by rivals , Murphy and deputies, and
began the Lincoln County war . Billy vowed revenge against the killers
of his employer and killed to sheriff Brady . He converted an outlaw
with a price on his head . McSween and Billy were besieged ,they were
shot dead as they came out ,but Billy emerged firing his gun and made
his escape . General Lew Wallace (famous author Ben Hur novel) took
office as Gobernor of New Mexico and he proclaimed an amnesty for all
those involved in the feud . The Kid was caught and convicted of
murdering and sentenced to be hanged , although shackled foot and hand
, managed to getaway from gaol by shooting dead the deputies (Denver
Pyle) guarding him . Pat Garret (John Dehner), a former friend , was
elected sheriff of Lincoln and set off on pursuit to capture him and on
1881 tracked to the home of Peter Maxwell (Nestor Paiva) at Fort Sumner
and there shot him dead by surprise . Legend says that Billy murdered
21 men in his 21 years of life but is really thought to be much less .
The kid was said to be a sympathetic , likable, attractive young and
favourite with girls (here for the beautiful Mexican Lita Milan) albeit
a nasty gunfighter .
Billy is well played by Paul Newman using Stanislawski method acting , it results to be quite obvious . However , Paul was widely felt to be miscast as Billy the Kid since at 33 he was considerably older than the character . The picture is adapted by Gore Vidal , a script that follows correctly the Billy's life , though he was greatly annoyed when director Arthur Penn expressed criticisms of his original script and brought in Leslie Stevens for rewrites . The film was compellingly directed by Arthur Penn in his first feature , though it was a flop at the US box office . Rating : Good . Well worth seeing.
Based on Gore Vidal's play (which had already been filmed once for television with Newman), THE LEFT HANDED GUN is an unusual addition to the western genre, with several considerable attempts at psychoanalysis that were slightly ahead of the time for this type of picture. The film is more or less a bio of infamous outlaw Billy the Kid, with the novelty that Billy (played by Newman) is sympathetically portrayed more as a misunderstood youth rather than an outright criminal. Director Arthur Penn and screenwriter Leslie Stevens (working from Vidal's original play) have done a commendable job at presenting Vidal's revolutionist vision of Billy, even though the film sometimes rambles and lacks the streamlined momentum that made Penn's similar BONNIE AND CLYDE (1967) an American film masterpiece. The entire story was filmed much more effectively in Sam Peckinpah's cult classic PAT GARRETT & BILLY THE KID (1973), but THE LEFT HANDED GUN stands as an interesting curio and a film that (aside from some overwrought acting) has aged very well. This was yet another role that was originally intended to be played by James Dean that Newman stepped into after that young actor's tragic death. Unlike 1956's SOMEBODY UP THERE LIKES ME (which Newman played to perfection), I actually think that Dean might have actually been better suited to play Billy the Kid, as his nervy stance and cocksure demeanor have yet to be match by anyone and possibly could have enhanced the role even further. Newman is still quite good, however, playing the role as closely to Vidal's original concept as possible, and there is a particularly lovely scene with Newman's reaction as Billy to a Biblical verse remaining one of my favorite pieces of reactive acting ever. The sympathetic portrayal of Billy the Kid also gave Newman his first real shot at playing an anti-hero, a task that he would later perfect in the 24-Karat film masterpieces THE HUSTLER (1961) and HUD (1963).
Like the precedent user said,all that will follow in Penn's best works
is already here:the search of a father,the marginal hero,incapable of
becoming part of a community.In "Miracle worker", which I look upon as
his masterpiece,Helen's father is thoroughly unable to communicate with
his daughter who immures herself in her autism.In "the chase" Robert
Redford's character has been an outcast for his whole life.In "Bonnie
and Clyde" ,not only Penn depicts par excellence marginal characters
but he also introduces CW Moss's character ,whose father is a mean old
man,and who loves the two gangsters as his parents.
At the beginning of the movie ,Billy is still a boy searching for his identity.His boss,who reads him the Bible ("through a glass,darkly"),gives him what he's longing for.One must notice that the relationship Billy/his boss-father is too short on the screen to be really convincing.This is accentuated by the fact that the supporting cast is faceless,and once his "dad" is dead,Newman carries the movie on his own:his performance is typically "actor's studio",very deep,very introspective,in a nutshell he plays Billy as he would play a Tennesse Williams character.We're far from the western actor,such as John Wayne or Joel McCrea.The sentence "I do not want you" often comes in the lines and drives Billy to despair and violence.Actually it's the last sentence he hears from the man he loves so much.
Because they have no shoulder to lean on,Penn's heroes are doomed oedipean human beings and except for Helen in "Miracle worker",their destiny leaves them no hope.
Billy The Kid has been played on screen by many actors, of whom Paul
Newman may have been the most justly famous. So why is his Billy such a
Newman was 33 years old and had managed to make the most of his second chance at screen fame with a solid turn in "Somebody Up There Likes Me," playing a rebellious young boxer. As Billy, though, Newman seems lost as a similar character of sudden impulse. "All I know is how I feel," he says, and that's true whether he's brooding Brando-like over the death of a rancher he just met or dancing up a storm three minutes later. For every scene he plays with his trademark cool, there must be four or five he exaggerates to strange effect.
It's a strange movie with or without him. Celebrated by some as a psychological western, it presents Billy as neither evil nor a sociopath, but rather as tied up by an understandable if extreme need for revenge. There was this guy, you see, who gave Billy a job and then got shot by some corrupt peace officers, and he promised to teach poor Billy to read.
Never mind that Billy doesn't know this guy when the movie starts and he's already dead ten minutes in. Nor that Billy's two partners-in-crime, Tom (James Best) and Charley (James Congdon), have no clear reason for siding with their hot-tempered friend. "The Left-Handed Gun" is a film in a hurry, mainly to give Newman as much opportunity to emote as possible. Boy, does Newman emote!
Compositionally, "The Left-Handed Gun" does some interesting things. We see Billy's first gunfight through a steamed-up window taking place while Billy simultaneously maps it out, a terrific effect. Director Arthur Penn and cinematographer J. Peverell Marley (not a harmonious team, as Penn reveals in a DVD commentary) continually find unique details to capture the eye, like one man's face pressed against a window glass after taking a fatal bullet. In his movie blog "Nothing Is Written," Groggy Dundee points out just how much of Penn's big escape scene made it into the later Sam Peckinpah movie "Pat Garrett And Billy The Kid," to the point of identical blocking and camera angles.
This is a better film that that one, which is overlong and cattywampus. Penn makes a point in his DVD commentary about the film being taken away from him in the editing room, and there's much sloppiness in evidence in the final cut, like Tom taking the same bullet in two consecutive scenes. But Penn must take the blame for a cast that overplays way too much, as if Newman's Method acting style was the swine flu. Best either whacks his hat or giggles constantly, while John Dehner as Pat Garrett has an atrocious scene where he whines at Billy for shooting a guy during his wedding reception.
"This wall, this street, this town, I married all of it," Dehner screams. I shudder to imagine the honeymoon.
Best's future "Dukes Of Hazzard" castmate Denver Pyle sticks out in a better way as the ornery Ollinger, while Hurd Hatfield coos over Billy as an overly florid Southern writer who wants to make his fortune writing up Billy's career. Considering this was based on a play by Gore Vidal, there may be a subtext there, though Hatfield works his few scenes more in the direction of a creepier Vincent Price. I liked him, even if I don't think he got across anything more than a hint of an idea about our exploitative celebrity culture.
That's the problem with "Left-Handed Gun," aiming too high and not getting what it shoots for. That and Newman, who shows some star power here but not much acting skill. Unlike Billy, he had time to get better.
Billy the Kid seeks revenge for the murder of his employer. This oft-told tale gets the psychological treatment in this account based on a play by Gore Vidal. Newman replaced first choice James Dean, and seems to be doing a Dean impression of the misunderstood youth, along the lines of "Rebel Without a Cause." Since Newman was rarely guilty of overacting, the blame here must fall on Penn, directing his first film after years of "playhouse" work on TV that encouraged exaggerated acting. Furthermore, the film is choppy and drab looking. Penn of course got better with experience. The biggest joke is that Billy the Kid was actually right handed.
Arthur Penn directed this obscure(and umpteenth) filming of the story of Billy The Kid(William Bonny) Paul Newman(utterly miscast) plays Billy as a misunderstood and pensive youth who merely wanted to avenge the death of his employer, an expatriate Englishman and cattle rancher murdered by a corrupt sheriff and his men because they didn't want the competition. Billy hunts down and kills the men responsible, but becomes a wanted criminal as a result. His friend and lawman Pat Garret(played by John Dehner) reluctantly pursues him, as Billy's fame grows... Terrible film is unbearably slow and uninteresting; a real chore to sit through, and misinformed title makes it look even worse!
When the film began, I suddenly had very low hopes for it. That's
because the opening tune was simply horrible--with bad lyrics and a
cheesy quality that made me cringe. However, I assumed it would get a
lot better. After all, almost anything Paul Newman did is well worth
seeing (other than his first film, "The Silver Chalice"--which Newman
himself often mocked when asked about it). Well, while this isn't as
bad as "The Silver Chalice", it is pretty bad.
The biggest problem with the film is the direction. It seems that instead of making a simple western, the actors had been told to act as if they were at a workshop given by The Actor's Studio--and each of them was trying to out-emote each other. Imagine a film where EVERYONE is method acting and all trying to do it more broadly and noticeably than the last guy! Subtle, it was not--in fact, it was seriously funny at times. There were just so many scenes that were overacted horribly. I especially loved the death scenes and when folks got mad because they REALLY died spectacularly or got insanely angry! I especially loved Pat Garrett's (John Dehner) reactions in the film--they were downright funny.
The other big problem is that as a historical piece, the film bore no resemblance to reality! Like a lot of bad westerns, this one purports to be about an infamous western bandit (in this case, Billy the Kid) but isn't his life in the least. And, combined with the crap acting and direction, the film is just a complete mess. So, unless you like bad films or have no taste at all, steer clear of this one. Even with Newman, it's a dog.
Like many 1950s films, this western tended to slant on the melodramatic
side although it has its share of many elements. The actors and their
characters are mostly overwrought and can get on your nerves by the
halfway point of the 102-minute movie. The directing, though, is very
good and the photography is top-shelf. As usual, Warner Brothers has
put out a very good DVD transfer of this 52-year-old movie. It was
issued as part of the "Paul Newman Collection."
Everyone knows about Paul Newman, who plays the lead character "Billy The Kid." However, I found Lita Milan and John Dehner the most interesting. Milan was a new face and not someone a lot of people know about and Dehner played against-type and played the most mature person in the story.
Milan as "Celia" will get the males' attention, especially if they're into sultry, striking-looking females. According to the IMDb mini biography here, shortly after making this film married the son of Trujillo, a famous Dominican Republic dictator, and that was the end of her screen career. Several years later, her husband took over the country when his father was assassinated, and a few years later they had to flee the volatile Latin American country. Wow, it sounds like she led a life that wasn't far away from the violent world of "Billy the Kid," the subject of this film.
It was kind of odd seeing Dehner, who played a lot of bad guys on TV westerns of the 1950s, playing good-guy "Pat Garrett," a friend of William Bonney ("Billy the Kid") for most of the movie. Whether he turned out to be "good" in the end, is your call. Actually I thought Dehner did the best job in here and played the best character, one of the few that was subdued and tolerable. Newman and his buddies in this film were all loud, immature and stupid, which is how they were supposed to be portrayed, but they are almost "cartoonish." The story has its ups and downs and isn't bad overall, but not something that I'd watch a second time.
By the way, "Billy The Kid's" real life name was Henry McCarty (not "William Bonney," which was one of several alias he used. How much of this story is factual, I couldn't tell you but knowing Hollywood I wouldn't trust a lot of this to be exactly accurate. A
I wonder what the mature Paul Newman thought of this early movie
performance. Of course, 'mature' is a relative term since he's already
33 here, well beyond the 'kid' range. In my little book, it's the most
mannered and misdirected acting of his long and distinguished career.
It's almost like he's working at an excess of James Dean. That wouldn't
be surprising since the screenplay's Billy comes across as more
misunderstood youth than cold-blooded killer. I guess this is the first
of director Penn's efforts at rehabilitating notorious American
outlaws, leading up to the glossy Bonnie and Clyde (1967).
The movie itself is pretty good, the open range locations even looking like eastern New Mexico, while Penn uses them to good effect. But it's really James Best as the ill-fated henchman Tom who steals the film. His supporting role manages a certain poignancy that should have come from Billy, but doesn't. With the right breaks, I think Best could have carved a real niche in films. Speaking of supporting players, with the exception of the cartoonish Moultrie (Hatfield), they appear recruited from the many TV Westerns of the day, especially the familiar Denver Pyle and the classy John Dehner.
Penn establishes himself here as a moviemaker to watch with a number of nice touches having Pyle squint into the sun just before the fateful moment, the lone boot left standing in the road, and others. I'm kind of sorry that the baby-faced Audie Murphy didn't get a shot at Billy's role. Visually, he's perfect. Plus, surprisingly for that boyish appearance, he could do a killer-stare to make you believe he killed 100 Germans during the war. Also, Murphy could have made that key facedown scene with Joe Bell (Pryor) as genuinely chilling as it should be. For whatever the charming Newman's considerable skills, being downright mean is not one of them. Anyway the movie remains an interesting entry on the road to 1960's-style rebellious movie-making.
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