The Reivers (1969) Reviews

• A movie with special charm

  Shooturiout2002-06-16

  For a movie that starred one of the greatest box office stars of his time, based on a Pulitzer Prize-winning novel by one America's greatest writers, "The Reivers" has continued to be something of an answer to a trivia question ("In what movie did Steve McQueen portray a semi-comic character involving a stolen automobile and a horse race?") I'm not sure of the reasons myself, but this movie has remained at the top of my "Favorite Movies" list since I first saw it in 1969. Maybe it was the out-of-character role of McQueen. Maybe it was the excellence of his supporting cast that includes Mitch Vogel, Rupert Crosse and Will Geer. Maybe it was the direction by Mark Rydell. Or maybe it was the outstanding score by John Williams (which has remained my favorite movie score of all time). Most likely, it is a combination of all the above. All I can say is that this movie has never lost its appeal for me. Watching the movie is like visiting an old friend with whom the passage of time will only strengthen the bonds of affection. This movie may not be for everybody, but I recommend it on the chance that you may be smitten by its special charm.

• An obscure gem from Steve McQueen

  lyle-122004-03-12

  I personally rank this film, based on William Faulkner's last novel, among my favorites. Not that I would rank it as a "great" film, but it's a lot of fun. It's true that McQueen may have been in fact older than his character was supposed to be, but his attitude and style seems to bring it off. Mitch Vogel, as the young boy Lucius, who is lured into stealing his grandfather's (Will Geer) new Winton Flyer automobile for a wild weekend in Memphis by Boone Hoggenbeck (McQueen) is completely believable as a kid who wants the adventure, but has to be drawn into it because he respects his grandfather so much. Rupert Crosse as McQueen's other reiver (thief) in this caper adds an extra comic relief as the one who gets them into a real fix in Memphis. Ordinarily I hate movies with running narration, but the narration in this by Burgess Meredith as the grown old Lucius, remembering his exciting weekend in Memphis, adds a real touch of poignancy to this tale of youth lost. Additionally, Sharon Farrell as McQueen's prostitute girlfriend, Clifton James as a vicious southern sheriff, and Juano Hernandez as a kindly old black farmer add real dimension to the film. Throw in a beautiful score by John Williams (his first film score) and you've got the makings of a warm, charming story, accurately drawn, from the turn of the century. The scene at the film's end, where the grandfather has a heart-to-heart talk with the boy, is wonderful, and very "authentic." The director, Mark Rydell, did a terrific job. I've seen this movie many times, and it never fails to entertain me.

• "...the virgin's love of his rough and innocent heart."

  utgard142014-04-10

  This movie holds a special significance to me as it was one of my late father's favorites. It's a William Faulkner coming-of-age story about a boy named Lucius (Mitch Vogel) in early 1900s Mississippi. Lucius looks up to Boon (Steve McQueen), the immature handyman on his grandfather's plantation. Boon convinces Lucius to help him "borrow" the grandfather's brand new car and drive to Memphis to see Boon's prostitute girlfriend (Sharon Farrell). Tagging along for the ride is Lucius' older cousin Ned (Rupert Crosse), who's almost as irresponsible as Boon. Once in Memphis, a lot of things happen and they wind up needing to win a horse race to get the grandfather's car back. McQueen is good in a role a little outside of his wheelhouse. Vogel, Farrell, and Crosse are all good as well. Will Geer plays the grandpa. Light-hearted but with some serious moments. In many ways it plays like a Disney film of the period, except with whores and people using the N-word. William Faulkner is probably my favorite Southern author but his work hasn't been considered easy to translate to screen. This is one of the better efforts.

• a treasure

  rupie1999-07-19

  I have not read the Faulkner story on which this is based, so I can't comment on how much of this delightful film can be credited to him (doubtless Burgess Meredith's voiceovers are Faulkner's words), but this wonderful movie about the pain of growing up is laced with plenty of adventure and fun and deserves to become a classic. The John Williams score is superb. The acting is wonderful from all the leads, including the boy. This is one of the underrated Steve McQueen's best roles, and Will Geer is perfect in the small but rich part of Boss. The characters are all wonderfully and richly fleshed out, and there are many moments of human insight. To top it off, the cinematography makes the movie simply gorgeous to look at. Considering the movie's manifold virtues it's interesting to note that one never sees it on any of the cable channels. The reason is obvious, and it's political correctness. The movie uses the "n" word multiple times, although always in the same way Mark Twain used it, i.e. to demonstrate the inhumanity behind the use of the word. Also Corrie has her eye blackened by Boone, and Ned explains to Lucius "what better sign can a woman want from a man that he has her on his mind." All this racism and sexual violence is of course abhorrent, but the forces of political correctness would rather pretend that it never existed than to look it square in the eye. So to see this movie you'll have to buy it on DVD, which I strongly urge you to do.

• What An Education

  bkoganbing2007-10-09

  My favorite Steve McQueen film has to be The Reivers. He was so right for the part of Boon Hogganbeck, handyman and general all around troublemaker, he should have been considered for an Oscar nomination. It's definitely by far his funniest film. The Reivers is a posthumously published novel by William Faulkner and it's set in the Mississippi in the turn of the last century. The protagonist is a child Mitch Vogel, a most properly brought up child and grandson to the big kahuna in that delta county, Will Geer. Geer is a man who believes in progress, in fact he's brought the first automobile into his area, a brand new yellow Winton Flyer. That car proves way too much temptation for McQueen who'd like to use it to go courting his girl friend, a hooker who works in Michael Constantine's and Ruth White's Memphis bordello, Sharon Farrell. But to hatch his scheme, McQueen entices Vogel to tell some well placed lies about which relative the young man might be staying with and then taking Vogel and the car to Memphis after McQueen's been left in his charge. Stowing away in the Winton Flyer is Rupert Crosse. Crosse who did get an Oscar nomination for Best Supporting Actor is a mixed racial cousin of Geer's family and it does entitle him to some perks in the racist society that was early 20th century Mississippi. But Crosse is as smart and resourceful as McQueen and knows how to play up to people and make the racism work his way. Unfortunately Crosse lost his Oscar bid to Gig Young for They Shoot Horses Don't They. And sad to say Crosse died a few years later at too young an age, very much like star Steve McQueen. It's one rollicking ride our intrepid trio is on from the bordello to a horse race where Crosse swaps Geer's new automobile for a race horse that he discovers runs like lightning with a trick gimmick. Laughs mixed with some serious Faulkner social commentary. One person who does not credit enough in this film is Sharon Farrell. Her role as McQueen's girlfriend is tender and touching and in the end she actually becomes an honest woman. But a great deal of the enjoyment of The Reivers is in how that is accomplished. For any fan of Steve McQueen, The Reivers is an absolute must. And I guarantee you, one will become a fan of Steve McQueen after seeing this fascinating, tender, funny film.