Describing Ocean’s Eleven, Steven Soderbergh said he wanted to “make a movie that has no desire except to give you pleasure from beginning to end.”
He seems to have ripped off that idea from Sneakers.
Robert Redford is a lot more serious than I tend to think. So’s Paul Newman for that matter. We know the affable Redford from Butch Cassidy and The Sting, but really... those films aren’t about having fun. Sneakers is about having fun. Even Redford’s post-1990s career, post-Horse Whisperer, is missing the fun of this film. (Spy Game, of course, could have been fun, but wasn’t). Sneakers is about having fun.
To quote someone else--Quentin Tarantino this time--some films, once you get the story, you watch just to “hang out with [the characters].” This quote is another good description of Sneakers. I remember seeing the film when it came out, and in 1992, it was different to see Sidney Poitier in a fun movie, different to see Dan Aykroyd in something... good, different to see David Straithairn in a big Hollywood movie. Actually, that last one is bull--when I was fourteen, I had no idea who David Straithairn was... I mean, when Sneakers came out, Mary McDonnell was just the woman from Dances With Wolves. It was an event picture. It was back when an event picture didn’t have flying saucers. It was the new film from the director of Field of Dreams... it’s from a magical era that’s long gone (and only thirteen years ago).
The only time’s the film lags--and I do love Redford’s performance in this film, because it’s the same kind of performance Paul Newman gave in Slap Shot--is when Redford’s running the thing himself. It’s not about Redford, it’s about the chemistry between the cast. There’s a party scene in the film with six principals and two supporting characters and you feel every person’s presence at the party. It’s a great scene. It entertains and it’s beautifully constructed. I sat and marveled at how Robinson worked that whole scene out, giving each person the right thing to do for just the right amount of time.
Also indicative of the film’s era is the James Horner score. It’s from before he became Titanic composer James Horner and before anyone cared if he lifted his old material. It’s a playful score. Just great.
I can’t believe I was worried about this film’s quality.
CREDITS
Directed by Phil Alden Robinson; written by Lawrence Lasker, Walter F. Parkes and Robinson; director of photography, John Lindley; edited by Tom Rolf; music by James Horner; production designer, Patrizia von Brandenstein; produced by Parkes and Lasker; released by Universal Pictures.
Starring Robert Redford (Bishop), Sidney Poitier (Donald Crease), David Strathairn (Whistler), Dan Aykroyd (Mother), River Phoenix (Carl Arbegast), Mary McDonnell (Liz), Ben Kingsley (Cosmo), Timothy Busfield (Dick Gordon), Eddie Jones (Buddy Wallace), Stephen Tobolowsky (Dr. Werner Brandes), Donal Logue (Dr. Gunter Janek) and James Earl Jones (Bernard Abbott).
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Jg // Feb 20, 2009 at 8:59 am
One of my all-time favorites, and a rare instance of many very different (and sometimes spotty) actors coming together and hitting just the right note, and holding it until the final credits. This one is overlooked far too easily. Great movie.