An appreciation of Steve
McQueen and a selection of his films
Why do I like Steve McQueen and his films?
Maybe the answer lies in the type of
character he tended to play.
He was inclined to play an individual in
conflict with society or perhaps even himself – a “small” guy who was imperfect
but tried his best, and who showed determination and intelligence, qualities
accessible to us all. His characters show integrity, are down to earth and are
unimpressed by position or wealth. Often regarded as something of a loner, his
characters are sociable without being needy, and remain quite independent. In
short, he mostly played very human characters who may be flawed but did their best
while remaining true to themselves, and thus appealed to the best in all of us.
Is it simply McQueen’s acting?
Although he played a considerable range of
roles and they all had various qualities in common (see above), they all
benefitted from McQueen’s acting style. Very natural and “spare” (I believe he
was actually criticised for how naturally he performed), McQueen had a
tremendously expressive face and managed to convey meaning and reveal feelings
with a slight facial movement rather than repeat several lines of dialogue to
produce the same effect (or less). He also managed to imbue each performance
with complexity, sympathy, understanding and humanity. This, combined with an
underlying humour, created empathy and warmth among the audience who were drawn
to him because they could recognise reactions and, more importantly, they liked
him because of his character’s authenticity, sincerity and vulnerability.
For all the reasons given above, I
consider him one of the best screen actors, if not THE best of them all.
My favourite Steve McQueen films
Naturally, this is a very personal choice
which will reflect my own interests and character, but I hope you will find my
thoughts and comments of interest.
Although he had relatively small roles in
“The Magnificent Seven” and “The Great Escape”, he made a huge impact,
especially in “The Great Escape”, and he tends to dominate his scenes in each
film. He did much to make each part considerably more than was scripted and
came to embody the spirit of each of these films, especially “The Great Escape”
in which McQueen took on iconic status as Hilts, the “cooler king”, who came to
represent the resilience and spirit of the would-be escapees. Limited though
they were, these roles give a taster of some of the brilliance to come.
“The Cincinnati Kid” is undoubtedly one of
my favourite McQueen films.
Set during the great depression, this is
an existential poker-based drama about luck, following fortune and pursuing
fate by way of the talents given to us. It is about confidence, doubt, fear,
greed and the path to success.
Eric (the “kid” of the title) is sure of
himself – he has “something” and he has talent, but is he equal to the
recognised (but ageing) master, “the man”, Lancey Howard (Edward G. Robinson)?
Lancey has devoted his life to winning,
and he is about to give young pretender Eric a valuable life lesson that
success, or winning, is about more than confidence and talent, and can be
influenced by doubt and personal factors outside the game itself. Indeed,
“making it” is as much about attitude, determination, principles and sacrifice
outside the game as it is about skill within the game.
In the end, Eric is defeated and it
appears this defeat has shattered his confidence – he may have lost that
“something” when he realised he could be defeated. However, the experience also
allows him to see what is important in life and to gain some perspective, even
if this is brought about only by losing.
This is the perfect role for Steve McQueen
– an intimate drama with an appealing, flawed, human and sympathetic principal
character – we feel his pain when he loses to Lancey, yet we are pleased to see
there is more to him than just being “the man”.
Success in any walk of life means
determination and sacrifice – maybe Eric has learned that sometimes the life of
a “loser” has greater value than that of a “winner”.
"The Sand Pebbles" has been one of my favourite films
since I first saw it on television in 1976. It is set in 1926 in
revolution-torn China, when the crew of an American gunboat, the San Pablo, is
called upon to rescue some American missionaries working far up the Yang Tse
river.
The widescreen version does justice not just to the sweeping
panoramas of the quite breathtaking Chinese scenery, but also to the sweeping
events and themes of the story. It is in every way a "big" film,
dealing with political and military intervention (clear parallels with Vietnam
at the time of release), nationalism, racism, and the horrors of war. Yet for
all its heavy themes, it is most successful in the depiction of its very human
characters.
These characters are not just the means of conveying the
"messages" of the film, or fodder for the gripping and well-staged
action scenes. They are individuals in their own right, involved in something
far greater than their own destinies. Some are unpleasant and ignorant while
others are honourable but lost in the sea of historic events surrounding them.
Some, like Jake Holman (Steve McQueen), demand sympathy and respect as they
struggle to come to terms with their personal challenges brought to the fore by
these historically significant and politically dangerous events.
Robert
Wise's direction is strong and emotionally charged, complemented perfectly by
Jerry Goldsmith's wonderfully haunting and ominous music. Steve McQueen gives
what was probably the performance of his career (receiving his only Academy
Award nomination), and he is supported by a wonderful cast including Richard
Attenborough, Richard Crenna, Candice Bergen (aged just 19), and especially
Mako. But it is really McQueen's film. His very presence lifts scenes and he
manages to convey authenticity and gain the sympathy of the viewer with
consummate ease. Once again, McQueen has gone for a character at odds with
society but who remains true to himself and his friends to the point of
self-sacrifice.
“Bullitt” was a huge success for McQueen
and still has a considerable following today. Once again, the theme of conflict
with society or superiors is highlighted as Lieutenant Bullitt investigates the
murder of a witness (while under his protection) due to give testimony at a
high-profile trial. All is not as it seems, however, as Bullitt comes under
pressure from a self-serving politician who is willing to use Bullitt as a
scapegoat for his own failures.
It was perhaps particularly with this film
that McQueen gained the reputation for being the “king of cool”. Bullitt
remains cool, calm and professional throughout, to the point where, at the end
of the film, he may be wondering about his own humanity.
McQueen gives a very controlled, clever,
performance playing a consummate professional who never loses his cool and who
is persistent in the face of personal and professional threats. Bullitt might
even appear rather cold and calculating, but McQueen hints at a humanity and
vulnerability not immediately obvious in the script, creating a more engaging
character than would otherwise have been the case.
Well known for its action sequences, the
film also boasts McQueen’s performance, and that of Robert Vaughn who is
wonderfully oily and manipulative opposite McQueen’s straight and principled
Bullitt.
“The Thomas Crown Affair” is a morally
challenging and emotionally manipulative piece. Thomas Crown should, by rights,
be a fairly unpleasant and unlikeable character, yet McQueen makes him human
and attractive. Of course, this is helped by the entire premise of the film
whereby the traditional values of right and wrong in terms of theft are
challenged – the “jobs” are organised as if in a game. Crown sees each “job” or
theft as a challenge to “the system”, to see if he can overcome the substantial
measures taken by various banks to protect their money. He feels that no harm
is done as banks are compensated by insurance companies who make vast profits
anyway. Actually, he would probably have fitted perfectly in today’s markets,
and might even have added a little colour!
It is about winning, a challenge, and
beating the system in a world where money is simply the means of proving your
intellectual superiority. It is another potentially cold and unpleasant role,
but McQueen makes it all seem relatively acceptable and human, especially in
his romantic dalliance with the insurance investigator. However, is his
relationship genuine, or is this all part of his plan?
Dated in places and on dangerous ground as
you really end up rooting for no-one, this is a beautiful and playful
existential exercise in challenging morality which only works because McQueen
charms you into being on his side, until, perhaps, the last few seconds where
he makes us doubt our previous judgement of him. Much darker and more
thought-provoking than the admittedly entertaining remake.
“Junior Bonner” was McQueen’s least
successful film until “An Enemy of the People”. However, it is also one of his
most touching and poetic films.
Continuing the theme of conflict with the
world around him, we have a new development – being out of kilter with the
world, not really understanding (or approving of) developments taking place in
society, and trying to find a place in modern life – a place where character
and values appear to be replaced with money and “success”.
Increasingly out of place, Junior Bonner
returns home to find his home town changing while he and his father (and the
values they represent) are left behind.
Lacking pace, energy and much of a plot,
this is nonetheless an excellent vehicle for McQueen, and a pleasant lament for
a dehumanised world in which business and “success” have become the focus of
society, a society Junior Bonner finds hard to accept.
“Papillon” is a hymn to determination and
self-belief. This is the story of Henri Charrière, condemned to life
imprisonment in the penal colony of French Guyana for a crime he maintained he
did not commit, his experiences, survival and escape from that penal colony.
Part history lesson, part social
commentary and part drama and adventure, McQueen brings Charrière to life,
showing us his determination, his suffering, hope, depression, elation, but
most of all the strength of his spirit as he faces countless challenges.
Once again, humanity pervades his
performance which appears calmly simple opposite Dustin Hoffman as the ever
more desperate and nervous Louis. Unlikely to appeal to all, this is
nevertheless a powerful and tremendously touching performance.
“Tom Horn” is not, sadly, the film it was
meant to be or could have been. A bigger beginning was foreseen to introduce
Tom Horn and establish his past and character. Presumably lack of money meant
the introduction was dropped and I think this hurt the film as we only ever
really hear about Horn’s reputation rather than see and understand his true
standing in the West.
That said, it remains a most engaging film
and the role of Tom Horn fits perfectly the type of role McQueen liked to play
– a professional who doesn’t see eye to eye with society or his “superiors”,
but who may be used for society’s or his superiors’ benefit, and usually to his
own disadvantage. Again, political ambition rears its ugly head as Horn’s
actions threaten the aspirations of his employers, to which he himself will
fall victim.
Refusing to buckle to their threats, Horn
faces trial for a murder he claimed he did not commit, but is found guilty –
another example of traditional values being out of kilter with “modern” society
focused on profit and political ambition.
While hardly uplifting, this is
nonetheless a solid and worthwhile film which tells its story simply and
clearly – and would likely have gained the approval of Tom Horn himself.
McQueen’s performance is entirely natural
and appears effortless. However, closer examination reveals considerable
variety and colour within the confines of this naturally quiet and principled
hero of the frontier. There is much more going on than a first viewing might
suggest.
“The Hunter” was McQueen’s last film, and
he knew it. Already quite ill with cancer when he made “Tom Horn”, McQueen was
apparently breathless after takes when making this film. As a testament to his
courage and determination alone, this film bears watching, but McQueen also
managed to imbue his performance with vigour and humour – something largely
missing from his last few performances, and which he undoubtedly wanted to
revisit in what would be his last outing.
Here he has come full circle, repeating
his role as a bounty hunter (“Wanted Dead or Alive”) in this relatively small,
undemanding but entertaining and fairly personal film.
The theme of not fitting is once again
revisited, though this time largely due to age and fear of change. The
characters and episodic style of the piece are familiar and are clearly meant
to be treated as light entertainment, though light comedy is mixed with some
more serious points.
McQueen gives a very good and relaxed
performance which contains all his usual elements, though more focused on
comedy this time. There may even be references to previous roles – the theme of
taking on responsibility and accepting change, the card game in his home in
which he refuses to participate, and of course the frequent jokes about
driving. This really was a personal McQueen film and there would have been no
film without McQueen.
I also found the final scene (laced with
comedy) very touching, as he holds his baby who sneezes and he says “God bless
you” – he might just as well be passing the message on to his many fans and the
younger generation as a whole.
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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