The Missouri Breaks (1976)

User Rating:

6.4/10   

Director:

Arthur Penn

Writer:

Thomas McGuane (written by)

Release Date:

19 May 1976 (USA)

Genre:

Western

Tagline:

One Steals, One Kills, One Dies

Plot:

Tom Logan is a horse thief. Rancher David Braxton has horses, and a daughter, worth stealing. But Braxton has just hired Lee Clayton...

Plot Keywords:

Horse | Horse Thief | Daughter | Frontiersman | Royal Canadian Mounted Police

Cast

Marlon Brando	...	Robert E. Lee Clayton
Jack Nicholson	...	Tom Logan
Randy Quaid	...	Little Tod
Kathleen Lloyd	...	Jane Braxton
Frederic Forrest	...	Cary
Harry Dean Stanton	...	Calvin
John McLiam	...	David Braxton
John P. Ryan	...	Si (as John Ryan)
Sam Gilman	...	Hank Rate
Steve Franken	...	Lonesome Kid
Richard Bradford	...	Pete Marker
James Greene	...	Hellsgate rancher
Luana Anders	...	Rancher's wife
Danny Goldman	...	Baggage clerk
Hunter von Leer	...	Sandy

Runtime:

126 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Canada:G (Quebec) | Canada:R (Ontario) | Canada:PG (Manitoba) | Iceland:16 | West Germany:16 (f) | Australia:M | Finland:K-16 | Norway:16 | UK:15 (video rating) (1987) | UK:AA (original rating) | USA:PG

Filming Locations:

Billings, Montana, USA

Company:

Devon/Persky-Bright

Trivia:

Marlon Brando's performance was mostly improvised. Arthur Penn eventually gave up on him and decided to just let him act whatever way he wanted.

Goofs:

Anachronisms: When Tom and Jane mount the same horse, one in front each other, her modern white underwear appears for a while.

Quotes:

Jane Braxton: We had a famous painter out here last year... did last scenes. That man must have painted ten squares miles of canvas... and not one human face! And I wish he could have been here to paint that boy, Sandy, hanging up there so decoratively against the mountains. Because his pink tongue and his white face would have just set off the green of Montana splendidly. I mean, it would have made the damnedest bank calendar you ever saw!

Movie Connections:

Referenced in Ancient Evil 2: Guardian of the Underworld (2005) (V)

Much better than most would have you believe

This film has suffered some pretty undue criticism. It gets the dreaded `BOMB' rating in Leonard Maltin's guide, followed by `The worst film of a great director.' I haven't seen more than a couple of Penn's other films, so I can't comment on that, but it is hardly a bomb. Sure, it is a little slow moving, and it doesn't quite feel like the themes of the film were totally panned out, but most of the film is very good. I'm assuming Brando's the problem with most of the film's detractors. Wow, is his performance weird here. If you ever wanted to find the missing link between The Godfather and Apocalypse Now, here it is. He plays a bounty hunter of sorts hired to discover some horse thieves and murderers. This character is very eccentric, and I'm guessing that Brando had a lot of artistic input on this one based on his later career. He's basically a psycho killer, and he seems much more lawless than the criminals he's seeking. He also speaks with an Irish brogue, some of the time. Personally, the waxing and waning accent is my only real problem with the role, and I'm not a big accent baby anyway. It's a tiny flaw in what is otherwise a very interesting performance. Brando creates a very memorable character. Jack Nicholson plays his rival. He's almost ready to go straight, having found a nice, small ranch and a girlfriend (Kathleen Lloyd). His performance is subdued, and I really think Nicholson is best when he's like that. This isn't his greatest performance, but it is subtle and it's very good. The flaws of the film are offset by the number of great scenes in it. Almost every single actor gets one scene alone with Brando, and both Randy Quaid and Harry Dean Stanton deliver excellent performances especially in those scenes. Nicholson's two best scenes are also alone with Brando. I would guess than he had something to do with their co-star; I do think Brando deserves some credit for the excellence of these scenes. Penn's direction is nothing to write home about. I love the two other films I've seen by him, Mickey One and Bonnie and Clyde, but, let's face it, he was more or less ripping off the Italian and French cinemas of the time, respectively. Missouri Breaks is much more straighforward in that respect, and perhaps it is here that it could have used a boost of energy. 8/10.