JEREMIAH JOHNSON

1972, Sydney Pollack, 116 mins.

A mountain man becomes a legendary Indian fighter.

Robert Redford’s iconic presence dominates Sydney Pollack’s Jeremiah Johnson, a mountain-man Western, and adds immeasurably to its success. Johnson is a man of few words and only an actor with Redford’s charisma could carry off this decidedly oblique character.  The narrative, told against the backdrop of epic vistas, proceeds largely through encounters with Indians and various eccentrics, including the great Will Geer as an old-timer. John Milius wrote the screenplay for the film and although it was revised, it still contains numerous Milius touches – notably the nature of myth and the primal need for man to prove himself against nature. The attitude to the Indians is ambiguous and this was apparently deliberate on the part of the filmmakers. Sometimes the film becomes sentimental, particularly in the scenes with the squaw wife, but on the whole it’s compelling, entertaining and memorable.

HITCHCOCK

2012, Sacha Gervasi, 98 mins.

An engaging but fanciful account of a year in the life of the Hitchcocks

Based on Stephen Rebello’s book about the making of Psycho, Sacha Gervasi’s Hitchcock is most successful as a portrait of a marriage between two creative individuals, one of whom is renowned as a genius while the other is, mostly, content to stay in the background. Alma and Alfred Hitchcock were devoted to each other and the film plays around dangerously with fact in suggesting that there might have been rifts in the relationship, particularly as regards the possibility of Alma nearly having an affair because s she feels neglected. But Anthony Hopkins and Helen Mirren are delicious with Hopkins, as in Nixon, capturing Hitch’s essence rather than doing a straight impersonation. The stuff about making Psycho is fun, if not always particularly accurate, and the best scenes involve Hitch’s sly ability to dance nimbly round the studio and the censor..