A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Friday, June 6, 2025

Scarecrow (Jerry Schatzberg, 1973)

Al Pacino and Gene Hackman in Scarecrow

Cast: Gene Hackman, Al Pacino, Dorothy Tristan, Ann Wedgeworth, Richard Lynch, Eileen Brennan, Penelope Allen, Richard Hackman, Al Cingolani, Rutanya Alda. Screenplay: Gerry Michael White. Cinematography: Vilmos Zsigmond. Production design: Albert Brenner. Film editing: Evan A. Lottman. Music: Fred Myrow.

Jerry Schatzberg's Scarecrow is the quintessential '70s film: a road movie featuring two actors on the verge of becoming legendary. It's long on character development and short on plot. Essentially, the narrative is there to provide reciprocal character arcs: The tough guy (Gene Hackman) softens and the soft guy (Al Pacino) toughens. Hackman and Pacino play drifters with unlikely dreams: Hackman's Max wants to open a car wash and enlists Pacino's Lion in his scheme, though Lion wants to make a stop along the way to reconnect with his ex, whom he left pregnant, and meet the child he has never seen. We know that they'll never fulfill these dreams, so the only suspense in the film is over how badly it will end for them. So mostly it's about performance, which Scarecrow adequately supplies. Scarecrow is something of a forgotten film, overshadowed by more celebrated ones in the two actors' oeuvre, and even a historian of the era in which it was made, Peter Biskind, dismissed it as a "secondary" work. But it deserves to be rediscovered, not just for the performances but also as a reminder of how significant the decade in which it was made is to film history.

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