I was really torn about rating this film. In some ways it is so cheesy and commercial, too much of a crowd-pleaser not to trigger my inner (and outer) snob, but ultimately I have to admit that despite the horrifying fact that this is a film everyone can love, I love it too. Now I feel like I need to go to a filmaholics anonymous meeting "My name is Biff, and I'm addicted to cinema". (Except I don't want to quit!)
conrad hall's cinematography just flows way above the movie offering moments of sheer beauty (monochrome prologue + nature close-ups with grass blades + lense flares + intentional mistakes + artificial angles + "washed-out" drenched 70s look) / unimpressive western script - the escape scene is endless (nice theme of an everlasting anonymous posse though)
I eventually liked this movie & watched it several times. But what was disturbing me all the times was the eternal back & forth between western/action & comedy/farce. I would have preferred a "100%- classical-western-content" instead. A pity. Great actors including Katharine Ross. Unforgettable the "last shooting" scene. 3,5 stars. (I am wondering, what Sam Peckinpah would have made of it).
Hardly resembling a Western, this film belongs to a genre of its own, the Newman-Redford. The chemistry between the two co-stars is so natural and captivating that it eclipses any flaw or misrepresentation. G R Hill fills the blanks with originality, iconic sequences & a brilliant soundtrack. The film flows leisurely without rambling keeping the attention of the viewer effortlessly. Likeable & sweet Not-so-Wild West.
Butch Cassidy And The Sundance Kid mag einer der grossen New Hollywood Klassiker sein und hat das Team Newman & Redford zusammengebracht. Als ich ihn aber jetzt noch einmal sah, kam er mir schwerfällig und ziemlich enttäuschend vor.... (Dazu haben wir für euch eine Film List mit den besten Western der 60er/70er verfasst. Auf der Empfehlungsseite unserer Videothek cinegeek.de
I'm not a huge fan of old Westerns, but Paul Newman is the epitome of cool in this, despite him and Redford being anti-heroes. You know you've written a great anti-hero when your audience is cheering for them to get away with all their heinous crimes.