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The Sugarland Express (1974)
I thought this had a proto-'Raising Arizona' vibe but it felt less sure if it was a wacky comedy, or a serious drama, than the Coen Brothers' later film. 'The Sugarland Express' was Steven Spielberg's first theatrical feature (after the 'Duel' TV movie) but shows little of the spectacular magic he'd soon become known for with his other films over the coming decade. The story is very loosely based on a real life case where a hapless couple kidnapped a Texas Patrol man and took off in his car to try to get their baby back from it's foster parents. The low-speed chase begins immediately and it's an hour before things calm down enough to really explore the characters in any depth. The cast do fine work, particularly an unusually sympathetic and nuanced William Atherton (usually the professional "80s douchebag" character for hire) and Western stalwart Ben Johnson as a wonderfully gruff and morally decent Texas Sheriff. 'The Sugarland Express' isn't a bad film but I can't help wanting, or expecting, a masterpiece from Spielberg. I think this was John Williams' first score for Spielberg, it sounds nothing like his other stuff.
Always (1989)
Richard Dreyfuss plays a dead aerial firefighter sent back to help a new young pilot get his wings, even as he romances the former love of Dreyfuss' life. Steven Spielberg doesn't make "bad" films but 'Always' is one of his weakest. Almost everyone is miscast; mild-mannered Dreyfuss doesn't convince as the hotshot, risk-taking, veteran pilot he's described as (I'd picture more of a John Wayne type... who is actually referenced in the dialogue); a giant, square-jawed, hunky, meat-head is cast as the shy, bumbling, love-sick new pilot and the usually excellent Holly Hunter overacts in a hysterical lip-wobbling way, quite unlike the tough, no-nonsense, tomboy pilot her character is on the page. Only John Goodman as the loveable, slobby, comedy sidekick convinces but he's kinda just being himself, 100% full-tilt Goodman (him drinking the filling out a pile of Twinkies with a straw was very funny). Spielberg goes head long into slushy sentimentality and melodrama, not helped by John Williams' score laying the emotion on with a trowel. But sometimes the romance does really work and toward the end and I got a bit choked up a few times.
Well that's it, I've now seen every Spielberg film, ready for his new West Side Story remake!
I thought this had a proto-'Raising Arizona' vibe but it felt less sure if it was a wacky comedy, or a serious drama, than the Coen Brothers' later film. 'The Sugarland Express' was Steven Spielberg's first theatrical feature (after the 'Duel' TV movie) but shows little of the spectacular magic he'd soon become known for with his other films over the coming decade. The story is very loosely based on a real life case where a hapless couple kidnapped a Texas Patrol man and took off in his car to try to get their baby back from it's foster parents. The low-speed chase begins immediately and it's an hour before things calm down enough to really explore the characters in any depth. The cast do fine work, particularly an unusually sympathetic and nuanced William Atherton (usually the professional "80s douchebag" character for hire) and Western stalwart Ben Johnson as a wonderfully gruff and morally decent Texas Sheriff. 'The Sugarland Express' isn't a bad film but I can't help wanting, or expecting, a masterpiece from Spielberg. I think this was John Williams' first score for Spielberg, it sounds nothing like his other stuff.
Always (1989)
Richard Dreyfuss plays a dead aerial firefighter sent back to help a new young pilot get his wings, even as he romances the former love of Dreyfuss' life. Steven Spielberg doesn't make "bad" films but 'Always' is one of his weakest. Almost everyone is miscast; mild-mannered Dreyfuss doesn't convince as the hotshot, risk-taking, veteran pilot he's described as (I'd picture more of a John Wayne type... who is actually referenced in the dialogue); a giant, square-jawed, hunky, meat-head is cast as the shy, bumbling, love-sick new pilot and the usually excellent Holly Hunter overacts in a hysterical lip-wobbling way, quite unlike the tough, no-nonsense, tomboy pilot her character is on the page. Only John Goodman as the loveable, slobby, comedy sidekick convinces but he's kinda just being himself, 100% full-tilt Goodman (him drinking the filling out a pile of Twinkies with a straw was very funny). Spielberg goes head long into slushy sentimentality and melodrama, not helped by John Williams' score laying the emotion on with a trowel. But sometimes the romance does really work and toward the end and I got a bit choked up a few times.
Well that's it, I've now seen every Spielberg film, ready for his new West Side Story remake!