The Reivers

source: The Reivers

The Reivers

I saw this film when I was about the same age as the main character, the boy, played by Mitch Vogel. It left a strong impression on me. The cinematography, the magnificent score by John Williams, flawless acting, and, of course, Faulkner's story, create an atmosphere that few movies achieve. In terms of acting, McQueen is probably the weakest link, but he still deserves points for successfully suppressing his characteristic squint and open-mouthed grimace -- and he is as close to lovable as he can be. The movie also has more than it's share of memorable scenes, especially between Will Geer as the grandfather and Vogel. I would be wary of letting young children see this film. The story conveys the undercurrents of racism and sexism that existed then (and now). I was 12 when I saw it and I understood it. As a parent, be ready to explain some things, though, and preview the film.

This hilarious movie has much drawing power for me. The cast, first of all, was well-chosen. Burgess Meredith had a good narrating voice, Rupert Crosse and Steve McQueen were two of the nuttiest characters you could ever find, Sharon Farrell was a very sweet, pretty, and appealing lady, the seasoned veteran actor Will Geer was excellent as a wealthy landowner in 1905 Mississippi, and Mitch Vogel was very versatile in his first role here. While no one should condone Crosse and McQueen for trying, for all practical purposes, to get the twelve-year-old boy Lucius (Vogel) into trouble, you still can't keep from, again, laughing at all the antics and escapades all the people (Vogel, Crosse, Farrell, and McQueen) involve themselves in. As a rule, it is a good, wholesome, very entertaining cinematic work.

The last time I watched "The Reivers" I thought it was okay. Today I watched it and I enjoyed it more. There is a lot of good stuff in this movie. It has a nice look and it tells its story at a nice pace. It has a very good cast but I have to admit I don't enjoy Steve McQueen as much as I used to. I grew up a big fan of McQueen but as I watch him now the bloom is off the rose. I often find McQueen as too self conscious a performer. Sometimes I see McQueen's ego more than I see a character. That said, there is a lot to like in "The Reivers". If I keep watching it, I might actually become a fan of it some day. Honorable mention: a dreamy Sharon Farrell.

Based on Faulkner's novel, this picaresque comedy-drama is set amid those carefree days of early 20th century when an 11-year-old boy could get his education at a cat house and it was OK to give a woman a black eye if she got out of line. It's meant to be a tender coming-of-age story and a genial comedy for the whole family, but this uneven film is too vulgar at times and the humor is forced and generally unfunny. McQueen does OK but appears to be too old for the role of an immature rabble rouser. Vogel is quite good as the young lad who is exposed to the seedy aspects of life at too early an age. Crosse's character is such an idiot that he's rather annoying.

A diverse group goes off on an adventure, each for his own reasons, and each comes back changed and much wiser. Romance, excitement, tough choices, new experiences, and a really great car -- what more can you ask for? In a just world, this would be considered a classic of the coming-of-age genre. It is one of McQueen's most complex and charming performances. Crosse, another actor who died much too young, is brilliant. It has some mature material, but it is a wonderful family movie to talk to kids 13 and up about what growing up really means.

I have to say that I was surprised about how much I liked the film. William Faulkner (American Nobel Prizewinner) wrote "The Reivers." The story is about a boy, Lucius, and Boone played by Steve McQueen. They take the 1905 car that Boone promised not to take out for a joyride while his bosses were away at a family funeral. Boone, Lucius, and an African American co-worker who I forget his name but sneaks aboard the car on the way to Memphis to visit friends like Miss Corey played by Sharon Farrell and the brothel's matron, Miss Reba, played by the wonderfully talented Ruth White who died shortly after the film. The film is more of a mix of comedy and drama. There is the story of the 1905 yellow car and a horse and about horse-racing with Lucius in the saddle. There are some serious moments like Lucius discovering that he is staying at brothel and Miss Corey who he grows to bond with.

Steve McQueen stars as a nice jerk in Northern Mississippi in 1905. However, the focus of the film really is on young Mitch Vogel and is about his initiation into the sluttier side of life. Odd that despite his prominence in the film he received such low billing. This is a coming of age story about the South from William Faulkner and while in many ways it is a family film, the themes that appear in it make it far from family-friendly. This is certainly not a Disney flick! Now for older kids, it's probably okay but with the sexual content, * house setting and morally shaky lead characters, it's a bit problematic for the younger crowd. Now if you ignore all the debauchery in this film and the cliché about "hookers with hearts of gold", then it is an excellent character study and does have some lovely performances and is finely crafted--just don't let your kids internalize the messages or you'll be sorry!

This was a great film written by the famous writer William Faulkner dealing with an old man going back to his youth sixty years ago. Steve McQueen, (Boon Hogganbeck) along with a few of his friends decided to take a trip from Mississippi to Memphis in an old time car which was relatively new during this period of time and taking along a very young boy named Lucius, (Mitch Vogel). Boon takes Lucius into a brothel where he stays over night in Memphis and learns a great deal about the birds and the bees and especially from a sweet kind lady named Carrie, (Sharon Farrell) who is a gal very much in love with Boon. There is a horse race and lots of laughs and drama to go along with the rest of the picture. There was a great deal of problems between the director of this film Mark Rydell and Steve McQueen, but the film was finally completed but the producer would never direct another picture with McQueen.