Reflections
on characters and themes in "The Professionals"
Written
and directed by Richard Brooks from a novel by Frank O’Rourke
Starring
Lee Marvin, Burt Lancaster, Robert Ryan, Woody Strode,
Jack
Palance and Claudia Cardinale
This film is a
wonderful example of the combination of entertainment and reflection. The
characters are nicely fleshed out and are played to perfection by the cast.
Although it contains reflective, even philosophical passages on life and death,
it always remains positive and entertaining – a rare feat!
Working on several
levels, this late period western adventure presents us with the story of four
expert mercenaries hired to find and return the kidnapped wife (Maria, played
by Claudia Cardinale) of an ageing oil baron, J.W. Grant (Ralph Bellamy).
Rico Fardan (Lee
Marvin) and Bill Dolworth (Burt Lancaster) are the central characters as they
confront a former revolutionary colleague, Jesus Raza (Jack Palance), who
apparently kidnapped Mrs Grant. Rico and Bill join with Hans Ehrengard (Robert
Ryan) and Jake Sharp (Woody Strode) to undertake the mission. Though of
significantly different temperaments, these men work together as a team –
indeed together they form a whole, with Rico the cool and reasoned leader, Bill
the strength and spirit, Hans showing compassion and thought, and Jake skilful,
determined and unquestioning. Each will play his part in the completion of the
mission, though there are minor disagreements on the way, emphasising, perhaps,
the need for different approaches in the solution of any problem, whether by a
group or an individual.
It is clear from
the outset these are rugged, experienced and determined men who may be
disillusioned, but they are not cynical or heartless. They appear to be lacking
in purpose and perhaps even a place in society, and although they undertake the
mission principally for money, it is also because this is a "mission of
mercy" and a challenge to their professional capacities.
Raza, on the other
hand, is painted as a ruthless and heartless killer – an impression confirmed
by our heroes’ first encounter with his murderous men, and then compounded by
our first sighting of him as he callously shoots soldier prisoners in the back.
Having already
mixed rugged action scenes with questions concerning the group’s willingness to
kill men (contrasted with their desire to spare the lives of a group of
horses), it is at this point that director Richard Brooks starts to introduce
his "subtext", calling in to question our judgement of what is right
and wrong, and perhaps even more broadly questioning our motives for
involvement in a cause.
Just after we (and
our heroes) are appalled by Raza’s cold-blooded murder of his prisoners, we are
informed by Dolworth that his victims are in fact members of an elite squad of
killers and torturers who were responsible for the death of Fardan’s wife, causing
us to doubt our own evaluation of the situation and leading us to realise that
the situation is far more morally complex than we might have thought.
It is also at this
point that we are introduced to a concept which is essential to understanding
the film – when Dolworth talks of his role in the "revolution", and
how it became hard to tell who were the good guys and who were the bad guys. This
idea that "right" and "wrong" may not exist, and that each
"side" fights for what it believes in, ultimately using methods to
advance their cause which may lead to a blurring of the divisions between the
two is quite fundamental to the "message" of the film.
Much is made of
the "revolution", particularly in the scenes between Raza and
Dolworth during the pursuit which follows Maria’s "rescue" from
Raza’s clutches.
In an illuminating
and yet entertaining exchange between Raza and Dolworth, the reasons for
involvement in the revolution, and the abandonment of it, are debated.
Philosophically speaking, these scenes form the cornerstone of the entire film.
The revolution may
be viewed as a stand for principle in which (at least in the beginning) each
"side" fights for what it believes in. In keeping with the principles
of existentialism, right and wrong do not exist – there are only sides opposing
one another, each fighting for its cause and each offering its own account of
events and the "truth". It is recognised that men will become
disillusioned and abandon their cause, but Raza suggests they will return to it
as they feel the need to believe in something, and wish to give their lives
purpose and value.
Rico and his
compadres are such men. They have become disillusioned and have accepted this
job for money (the "professionals" of the title), yet in the end they
make a stand for principle at the expense of their fee, but to the credit of
their sense of honour and self-esteem. Having been manipulated by one man’s
account of events and also by the lure of wealth, they committed the very act
that was so heavily criticised at the start of the film, but they manage to
leave with a renewed sense of worth and purpose.
That the whole
takes place in desperately unsparing desert conditions while men scat around in
an attempt to give their lives meaning may also be viewed as evidence of a
somewhat existential outlook, and it is not unlike the inhospitable setting of
Clouzot’s "Wages of Fear" in which men also put their lives at risk
in an attempt to give them a purpose.
Given the
background and philosophical nature of several of the scenes, the film might
easily have become deadly serious or ponderous but Brooks manages to combine
reflections on life, death, and principle with humour and a constant positive
attitude. Many allusions are made to pain and death, yet these characters have
little time for brooding regret, concentrating instead on fulfilment of the
task in hand. As an ex-marine, Brooks was perhaps well placed to provide us
with this exciting yet contemplative adventure which never ceases to accentuate
the positive and the fact that we give our lives meaning by virtue of fighting
for a cause we believe in, even if ultimately "right" and
"wrong" do not exist.
In the end,
however, the conclusion is that love is the governing factor. It is for love
that our heroes are dispatched to Mexico in the first place, it is for love
that Raza pursues the kidnapped Maria, and it might even be argued that it is
for love (of a cause) that Raza and his men fight the revolution. Even the
almost-cynical Bill Dolworth sees there is more to life than he imagined as the
result of recognising the power of love!
The performances
are excellent throughout, with each of the lead actors playing parts which seem
to have been made for them. Lee Marvin exudes the quiet controlled command of a
disillusioned (and even pained) professional, while Burt Lancaster looks like
he thoroughly enjoyed playing the life-loving Bill Dolworth who (re)discovers a
purpose beyond immediate gratification.
My thanks for taking the time
to read this article. I hope you found it of some value.
Stuart Fernie (stuartfernie@yahoo.co.uk)
No comments:
Post a Comment