The movie's publicity still with Newman and Marvin (IMDb's main page display) was photographed by British photographer Terry O'Neill. (The photograph also appears on the jacket of O'Neill's 2003 compilation coffee-table book "Celebrity"). In the book, O'Neill recounts how when he arrived on the Pocket Money (1972) set to shoot his publicity stills, Lee Marvin was hungover and in a foul mood. Most of the production personnel were steering clear of him. When O'Neill gingerly approached Marvin and introduced himself, Marvin asked, "Are you English?" What O'Neill didn't know at the time, was that Marvin was a lifelong Anglophile - he LOVED the British. After that brief encounter, Marvin's mood changed and, according to O'Neill, he couldn't have been more cooperative for the rest of the photographer's assignment. See more »
[In anger, a television was just thrown out a hotel window]
That's hotel property, and I'm just sittin' here waiting for the house dicks to come.
[pretentiously, with sort of a faux-cool]
But you're the one that's gotta have to pay.
Who the hell is he?
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Eccentric ambiance abounds, but this scruffy, mild modern-day western never builds much momentum. Down-on-his-luck Arizona cowboy takes job herding cattle through part of Mexico. Adaptation of J.P.S. Brown's novel "Jim Kane" isn't a strong vehicle for Paul Newman, likable but curiously dopey throughout (this is no "Hud"). Lee Marvin gives a friendly performance as Newman's equally half-witted cattle-broker pal. Director Stuart Rosenberg, who never does consistent work and therefore is a tough filmmaker to pin down, does a nice job at concocting a low-key, lightly rambling atmosphere, but the plot is too skimpy for these characters to truly come alive. As a character-study, it's a pleasant enough throwaway. Screenplay by future filmmaker--and cult icon--Terrence Malick, from an original treatment by John Gay. ** from ****
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