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The Chase (1966)
This highly interesting drama has generally been criticised for being marred by an ongoing conflict between director Arthur Penn, producer Sam Spiegel and screenwriter Lillian Hellman during production. And granted, it is possible to find relevant weaknesses in the film based on this knowledge, but these weaknesses are rarely more than digressions. Hellman was reportedly not satisfied with the end product, but although she probably had her reasons for her dissatisfaction, The Chase turned out and remains a thematically remarkably rich and powerful drama. Arthur Penn directed, but was said to not have had much artistic control over his movie. He still got fine performances out of his ensemble of actors and actresses, however, almost all of whom are brilliantly cast. This is important for the film, because its effect is largely based on the many and complex character relations. Although slightly stereotypical, these form an important basis for the film's poignant, albeit unrefined and somewhat bombastic social criticism. The prevailing value system in the film's small Texas town is one of egoism, cynicism and rapacious morals. What's interesting is the way the film emphasises how these people are trapped in a void between a bygone old-west society and an ensuing urban society – seemingly without being able to adhere to either of them. Both narratively and thematically, The Chase is a pessimistic film. It has minimal faith in human goodness, and when it occasionally does, we're quickly made to realise that these individuals probably won't succeed in their endeavours. Still, it is the good virtues the film eventually endorses. In this respect, Marlon Brando's character is something of a reverse anti-hero. His moral compass and sense of justice is unquestionable, but he cannot overcome the dirtiness and dishonesty which has infested the town. It's also interesting to see how the film uses its supposed bad guy (the Redford character) and its supposed corrupt official (the Brando character) to underline the paradox of how it is exactly these two who remain virtuous while the rest of the society becomes increasingly decayed and corrupt. If the film has any drawbacks, it is the fact that the narrative at times comes off as unfocused, quenching the thematics in the process. The time frame is less than 24 hours, which presents challenges for the presentation of such a vast cast of characters. A couple of scenes feel forced and/or out of place, but generally there is power and purpose in most of Penn's images here, well helped by several brilliant performances. Robert Duvall and Robert Redford are a delight to watch in youthful character parts. But it is Brando who propels the film forward and steals every scene he is in, despite the fact that his part doesn't present him with the greatest emotional challenges. He is the talisman for a film that may not have fully lived up to its potential, but still remains one of the most interesting psychological dramas of its time.
English review:
Copyright © 22.11.2017 Fredrik Gunerius Fevang |
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