Butch Cassidy: “What happened to the old bank? It was beautiful.”
Security Guard: “People kept robbing it.”
Butch Cassidy: “Small price to pay for beauty.”
One of the most prolific westerns (and sometimes argued to be the last great western) to come out of Hollywood, George Roy Hill adapts William Goldman’s script that brings to life the real, mythical-type figures of Butch Cassidy and the Sundance Kid.
The background of the script is quite something, with Goldman sending it out to all of the studios – only one was interested (and that was if he made a major change to it). Instead, a few minor adjustments were made, after which Goldman discovered that every studio in town now desperately wanted it. In the end, it was 20th Century Fox President Richard D. Zanuck (son of co-founder Darryl F. Zanuck) who purchased the screenplay for a whopping 400,000 dollars (the biggest sum ever spent on a script up to that point) – and 200,000 higher than he was allowed to spend. Putting his job on the line, it was a wise choice, as it became the highest grossing motion picture of 1969. Goldman ended up winning the Academy Award for Best Original Screenplay.
Originally titled ‘The Sundance Kid and Butch Cassidy’, Zanuck didn’t find that the title sounded right when it was reversed to its final iteration – funnily enough, it now feels utterly awkward in its original form.
Perhaps less known, at first it was going to co-star Paul Newman and Steve McQueen, yet there was a huge dispute over top billing. Both stars wanted it, and to try to settle things, the filmmakers and studio executives basically split the globe in two so that each actor would have the first credit for their half of the worldwide box office. In the end, McQueen left the project and they flipped the title to give Newman’s character first spot in the title – as he was one of the biggest stars at the time.
Yet, there was still the issue of replacing McQueen. Originally gunning for Marlon Brando, and then Warren Beatty, neither took on the role. It was Joanne Woodward (Oscar winner and Paul Newman’s wife) who recommended Robert Redford, and despite apprehensions from Zanuck (who has since acknowledged that he was wrong), he was cast.
At the inaugural St. Lawrence International Film Festival, I interviewed Michael Dickson. The Canadian actor is the star of Black Mountain Side, which some critics have said may be the next cult classic of the horror genre. Representing the movie at the festival, Dickson graciously spent some time answering my query revolving around his favourite film. Obviously, he decided upon Butch Cassidy and the Sundance Kid after long contemplation. Check out the video interview below to hear his thoughts.
Starting in a sepia tinged tone (reminiscent of the early era of the westerns), we see Butch Cassidy (Paul Newman) utter the quote at the top of the article (a perfect viewpoint for a robber) and then meet the Sundance Kid (Robert Redford), who is dealing with a disgruntled card opponent. Getting mouthy with him before he knows who he is, we learn much from the pair when Butch comes in after the man has asked Sundance to leave, suggesting that he should “invite us to stick around”. When the threatened card player grudgingly utters those words, Butch joyously says, “Thanks, but we gotta get goin’”. For those of you who have not seen the movie, it will likely surprise you just how quirky and comedic it is at many points.
Returning to their hidey hole, there has been an uprising of sorts, with the gang having chosen Harvey Logan (Ted Cassidy) as their new leader due to Butch’s numerous long absences. An interesting head to head battle arises (that may remind some of a particular scene from Raiders of the Lost Ark) – one of the film’s many standout scenes.
After multiple train robberies, a group of men (gunslingers, trackers and the law) are hired by the owner of the locomotive company to kill the two thieves. An extended chase sequence (something unheard of at the time) follows, utilizing the striking desert landscapes to build an unyielding situation for our criminal leads. At one point, Butch frustratingly complains about the trackers proficiency at following them: “I couldn’t do that. Could you do that? Why can they do it? Who are those guys?”.
Eventually the duo flee for Bolivia with Sundance’s girlfriend Etta Place (Katharine Ross) – another thing that just didn’t happen in westerns (perhaps best put by John Wayne’s character Ringo Kid in 1939’s Stagecoach: “Well, there are some things a man can’t run away from”).
Starting up where they left off, the twosome write quite a second act in their lives, both as criminals and by going straight. Yet, will their long reaching criminal records eventually catch up to them, ending their lucky streak, or will they be able to live out their lives in the foreign South American locale?
A wonderful film that broke the norm of the typical western, it all starts with the magic formed by Newman and Redford. Combining Newman’s affable, charismatic, fast-talking performance with Redford’s more withdrawn, shoot-first-ask-questions-later persona, it is a winning combination. This film spurred a rise in buddy flicks that tried to capitalize on the magic found in Butch Cassidy and the Sundance Kid – though these things cannot be so easily replicated. Though here are some quality ones to consider: The Sting (which reunited Newman and Redford) and Thelma and Louise. Their banter is what gives the movie so much of its heart. Two of my favourite lines are when Sundance says “you just keep thinking Butch. That’s what you’re good at” and Butch replies, “Boy, I got the vision and the rest of the world wears bifocals”. Then, in the final action sequence, as the pair are running out of ammo (the rest is with their horses), Sundance boldly says “I’ll go”. Quickly, Butch adds “this is no time for bravery . . . I’ll let ya!”.
Famed costume designer Edith Head worked on this project. For those of you who don’t know her work (Vertigo, Breakfast at Tiffany’s), it means quality! It adds another level of realism to go along with the rocky locales, juxtaposing itself against the very modern and unorthodox western tale.
The music is also unique. Written by iconic orchestral pop musician Burt Bacharach, he too takes a modern spin – finding a way to integrate it into a most historic type of genre. The most unusual choice finds a musical interlude done to Raindrops Keep Fallin’ on My Head. Sung by B. J. Thomas, and written for the film, it accompanies an escapade where Butch and Etta take a ride through a ghost town on a bike (a mode of transportation that became very popular at this time in the west). The bizarre choice paid off, winning best song at the Academy Awards, also becoming a fan favourite moment in the film, as well as B. J. Thomas’ biggest hit (his team thought it may have an adverse effect on his career). The just over 13 minutes of composition (quite sparse for an entire film) also impressed, as Bacharach won Best Original Score at the Oscars as well. A side note in reference to the bike scene – the impressive stunts were actually done by Newman (after the stunt man was unable to pull them off).
Visually stylish, with an impressive number of layers (shots during the chase scene encompass our duo and the posse off in the distance to create an intense flair), Butch Cassidy and the Sundance Kid holds up to this day. Released during the Vietnam War, the anti-hero leads spoke to many, seeing them as the protagonists who were being hunted by the authority/government (i.e. the posse) – drawing similarities to what was going on in America at the time. Though critics were cool to the picture at first, audiences loved it – and word of mouth spread. Over time, many critics have re-assessed their original outlook, and the film is considered to be one of the greats. So, join this wild bunch as they try to stay one step ahead of the law, and discover if they ever truly get in trouble.