Steve McQueen

Sharon Farrell

Ruth White

Michael Constantine

Clifton James

Juano Hernández

Lonny Chapman

Will Geer

Rupert Crosse

Mitch Vogel

Diane Ladd

Ellen Geer

Allyn Ann McLerie

Charles Tyner

Vinnette Carroll

Diane Shalet

Pat Randall

Dub Taylor

Lindy Davis

Shug Fisher

Raymond Guth

Logan Ramsey

Jon Shank

Gloria Calomee

Sara Taft

Lou Frizzell

John McLiam

Roy Barcroft

R.N. Bullard

Ogden Talbot

Michael Hinn

Bert Conway

Billy Green Bush

John J. Fox

Owen Bush

James Rawley

Al Hopson

Wes Fuller

Ella Mae Brown

Florence St. Peter

Jim Goodwin

Burgess Meredith

Robert E. Relyea

Irving Ravetch

Harriet Frank Jr.

Mark Rydell

William Faulkner

Richard Moore

Thomas Stanford

Rick Rosenberg

John Williams

Charles Bailey

Joel Schiller

Phil Abramson

Theadora Van Runkle

Lynn Stalmaster

Loren Janes

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mississippi river

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coming of age

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The Reivers

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United States of America

**_McQueen hams it up in Faulkner’s early 1900’s Southern misadventure_**

In northern Mississippi, 1905, the first automobile is brought to town, a yellow Winton Flyer, bought by the patriarch of the McCaslin family (Will Geer). A likable rapscallion named Boon (Steve McQueen) talks the 11 year-old McCaslin grandson (Mitch Vogel) into going to Memphis in the “borrowed” vehicle for a few days while gramps is out of town for a funeral. Rupert Crosse joins the fun trip and Sharon Farrell plays a woman of ill repute in Memphis.

Based on William Faulkner’s last novel, "The Reivers” (1969) is a picaresque tale that’s worth seeing just for the primitive automobile. Steve called the vehicle “the real star of the picture” and acquired it after filming for his personal collection. Yet the exploits of the colorful protagonists are entertaining in a fun way.

However, the tone is initially jarring, combining the air of a Disney kid’s flick from that era with adult bits, like staying overnight at a brothel and everything that goes with it. I should add that there’s no nudity except for a full-bodied painting on the wall in the boy’s bedroom, which he amusingly gazes at with fascination.

Being too adult-oriented for children and not meaty enough for adults, the movie unsurprisingly failed to connect with audiences at the box office, leading McQueen to later lament that it made him look like “the village idiot.” While it is true that he comes across as an “Aw shucks” simpleton, the character of Boon IS a man-child, an adult who still behaves like an irresponsible child. Meanwhile the kid is the real star since it’s his coming-of-age story.

On the female front, Sharon Farrell is reminiscent of Ann-Margret and was one of the most beautiful women to walk the earth in her prime. Meanwhile redhead Diane Shalet is on hand as Hannah.

If what I said interests you, check it out, but "Paper Moon" (1973) is a better choice for this kind o’ flick. It lacks the curious hammy approach of McQueen (and a couple others, to lesser degree).

The film runs 1 hour, 47 minutes, and was shot in Greenwood & Carrolton, Mississippi, with the horse racing sequences (obviously) done at Walt Disney's Golden Oak Ranch in Newhall, California, which is located in the high country just north of Hollywood and east of Santa Clarita.

GRADE: B-/C+

CinemaSerf

This reminded me of one of those live-action films that Disney put out in the 1960s and 70s. A big star (Steve McQueen) is friends with a young lad (Mitch Vogel) and together with his cheeky friend “Ned” (Rupert Crosse) they “borrow” the bright yellow Lincoln motor car of his grandfather (Will Geer) and head off for some adventures. First things first, to Memphis they travel where “Boon” (McQ) is hoping to see his gal (Sharon Farrell) who works in an house unsuitable for an eleven year old boy! Whilst they are preoccupied, “Ned” hits upon the idea of trading in the car - remember that roads aren’t so prevalent and mud still is - for an horse! When “Boon” discovers the news, he knows he has to get the car back before they go home and all hell breaks loose. All the while, the shy and decently brought up “Lucius” (Vogel) is having his eyes opened! There looks like there is only one way to get the vehicle back, and that’s for them to win the local derby. Neither “Boon” nor “Ned” really know one end of an horse from the other, whereas “Lucius” is not only no slouch on that front, but he also weighs a good deal less. Perhaps if he can win the race, they can get the car back? Quite why anyone would want a luminous yellow car in this territory in the first place is anyone’s guess, but this one soon gets used to mud! This is a very gentle coming-of-age story that’s not just about the young man, but his older friend too and it’s peppered with daft scenarios that showcase the charm of the star and the quality of the creatively designed production as it moves along in a fashion for an admittedly overdone two hours. It isn’t especially original, no, but everyone here looks like they are having fun (except, perhaps, the goldfish in the brothel) and it’s mischief tempered with a hint or moral sentiment is watchable enough.

This reminded me of one of those live-action films that Disney put out in the 1960s and 70s. A big star (Steve McQueen) is friends with a young lad (Mitch Vogel) and together with his cheeky friend “Ned” (Rupert Crosse) they “borrow” the bright yellow Lincoln motor car of his grandfather (Will Geer) and head off for some adventures. First things first, to Memphis they travel where “Boon” (McQ) is hoping to see his gal (Sharon Farrell) who works in an house unsuitable for an eleven year old boy! Whilst they are preoccupied, “Ned” hits upon the idea of trading in the car - remember that roads aren’t so prevalent and mud still is - for an horse! When “Boon” discovers the news, he knows he has to get the car back before they go home and all hell breaks loose. All the while, the shy and decently brought up “Lucius” (Vogel) is having his eyes opened! There looks like there is only one way to get the vehicle back, and that’s for them to win the local derby. Neither “Boon” nor “Ned” really know one end of an horse from the other, whereas “Lucius” is not only no slouch on that front, but he also weighs a good deal less. Perhaps if he can win the race, they can get the car back? Quite why anyone would want a luminous yellow car in this territory in the first place is anyone’s guess, but this one soon gets used to mud! This is a very gentle coming-of-age story that’s not just about the young man, but his older friend too and it’s peppered with daft scenarios that showcase the charm of the star and the quality of the creatively designed production as it moves along in an amiable fashion for an admittedly overlong two hours. It isn’t especially original, no, but everyone here looks like they are having fun (except, perhaps, the goldfish in the brothel) and it’s mischief tempered with a hint or moral sentiment is watchable enough.

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The Reivers

Boon is a reiver (that's a cheat, a liar, a brawler and womaniser) and he had just four days to teach young Lucius the facts of life (like cheating, lying, brawling and womanizing).

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