Reflections
on “The First Great Train Robbery”
Written
and directed by Michael Crichton
Starring
Sean Connery, Lesley-Anne Down and Donald Sutherland
At the risk of stating
the obvious, we watch different films for different reasons and to satisfy different
desires. We may watch to be inspired, challenged or educated, but I imagine we
all have a number of films we know we can return to again and again if we want
to relax, be entertained or have our spirits raised. For me, these films
include the early Bond films, the French comedy “Le Dîner de Cons” and “The
First Great Train Robbery”.
While “The First Great
Train Robbery” may not appeal to everyone – it has been accused of unfolding at
a leaden pace and it is not punctuated with spectacular action sequences every
few minutes – I appreciate and enjoy the carefully constructed and finely honed
script which shares the adventures and misadventures of a small band of rogues
as they contrive to steal a fortune in gold bars from a moving train in the
England of 1855.
This witty, playful and
self-aware piece of entertainment is built around three main elements – film
noir roots, conspiratorial humour and joyous performances from a cast who seem
to love the material with which they are working.
Truly amusing comic films
noirs are very rare and are to be savoured. I can think of only a handful of
films that toy with the existence of morality without indulging in a moody and
perhaps unsettling or grim tone, films such as “We’re No Angels”, “Kind Hearts
and Coronets” and “Arsenic and Old Lace”.
In our film, no-one is
truly innocent or worthy of admiration. Behind the façade of Victorian
uprightness, virtually all the characters manipulate and conspire to further
their own ends with little thought of compassion or consideration for others. We
are in classic film noir territory in which it is every man for himself as all
do what they can and must to survive, though this is presented in a
light-hearted way.
The absence of morality
and adherence to truth and trust is gently and playfully alluded to frequently
in the course of the film. Charming conman Edward Pierce smiles broadly and
answers “No” when lady friend Miriam asks if he ever tells the truth, his
ironic response leaving us and Miriam none the wiser and inviting us to treat
with suspicion every utterance from this master conman.
Toward the end of the
film, when Pierce is asked by the prosecutor if he had no moral misgivings or
sense of misconduct when planning and executing his crime, he replies that he
doesn’t understand the question, suggesting no recognition of societal codes,
legal or moral, and a devotion to self-interest.
The audience is involved
from the start in the film’s criminal scheme and is introduced early on to
Pierce’s cold-hearted professionalism when he regards the death of a
co-conspirator as a mere setback in his plans. We effectively conspire with our
charming rogues as the details of the plan are revealed to us and we share
complications, disappointments and successes, all laced with a conspiratorial
humour – comments and reactions that gently mock other characters and whose
meanings often only we in the audience will truly understand.
Characterisation along
with audience engagement are developed as the plot, involving the copying of
four keys, unfolds. Each mini episode takes place at a fairly leisurely pace
and focus and suspense are maintained by wit, character and story development
rather than spectacular but often mindless and contrived antics we see so often
in modern adventure thrillers.
The tone is kept light,
entertaining and playful, though there are moments of tension and fright,
especially during the heist itself, and this is reinforced and enhanced by
Jerry Goldsmith’s excellent musical soundtrack which does much to set the mood
of the film.
Michael Crichton’s
direction may seem laboured to some, but it plays on the pace of Victorian
life, prudish and hypocritical outlooks and the game of manners of the time,
all gently mocked and used to deliver a light comedy adventure told with the
oblique engagement of the audience.
The alluring Lesley-Anne
Down reveals impressive comic timing yet is convincing in more serious moments,
while Donald Sutherland seems to thoroughly enjoy his turn as the enthusiastic
but perhaps not too bright Agar.
For his part, Sean
Connery displays the comic touch and conspiratorial humour that made his Bond
films original and enduring, and these qualities are perfect for his role in
this often-underrated film.
My thanks for taking the
time to read this article. I hope you found it of some value.
Stuart Fernie (stuartfernie@yahoo.co.uk)
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