Cuba, December 1958: The professional gambler Jack visits Havana to organize a big Poker game. On the ship he meets Roberta and falls in love with her. Shortly after they arrive in Cuba, ...
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Cuba, December 1958: The professional gambler Jack visits Havana to organize a big Poker game. On the ship he meets Roberta and falls in love with her. Shortly after they arrive in Cuba, Roberta and her Cuban husband, the revolutionary Arturo, are arrested and tortured. Arturo is reported "shot while trying to escape," but Jack manages to get Roberta free again. He can't, however, keep her from continuing to support the revolution. Jack has to make a choice between the beautiful woman who keeps putting herself in harms way and the biggest poker game of his life; between the man he could be and the man he is. Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
The picture featured about 2000 extras and background artists requiring around 8000 to 10000 outfits and costumes with many of these requiring many and frequent costume changes throughout the film's production. See more »
In the final conversation between Jack Weil and Bobby Duran, Jack refers to the Butterfly Effect as if it was already theorized and calculated. This is supposed to be the following days after the Cuban Revolution blasts, in early 1959. Although the idea of the ripple effect exists since before, the way Jack refers to it should only be possible to know after that, as related to the work of Edward Lorenz. This mathematician and meteorologist wrote a paper for the New York Academy of Sciences in 1963 noting "One meteorologist remarked that if the theory were correct, one flap of a seagull's wings could change the course of weather forever." In later speeches and papers, Lorenz used the more poetic word butterfly. See more »
Many will claim that Sydney Pollack and Robert Redford were on auto-pilot while making this film. Based on their previous collaborative efforts, the well-received Three Days of the Condor, The Way We Were, The Electric Horseman, and Out of Africa, which swept the Academy Awards, people wanted to see their movies. They could make any movie they wanted. They made Havana, and NOBODY wanted to see it.
Maybe Pollack, brilliant in his own right, set his watch according to Redford's schedule at this time, and history shows that, subsequent to Havana, and its box office failure Sydney Pollack basically quit directing. His influence in film is still served, and may be better served as a producer, witness Sliding Doors, Sense and Sensibility, Fabulous Baker Boys, and Searching For Bobby Fischer, all of which he helped bring to the screen.
But, back to the matter at hand-Redford as a gambler, Lena Olin, his distraction (and what a distraction)--the film feels good, looks good, and gives us some perspective on Cuba in the waning hours of Batista.
Olin (pre-Romeo is Bleeding, post Unbearable Lightness of Being) is properly introduced to American audiences, and is not inappropriate as leading lady to one of Hollywood's leading stars, Redford, who, even on auto-pilot, delivers a strong, engaging performance.
I understand this film was heavily maligned at release, and failed dismally at the box office, but I enjoyed it. It is a beautiful film to watch with attractive leads - and that alone stands it well ahead of many of the alternatives out there today.
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