MovieChat Forums > Harper (1966) Discussion > disappointing (SPOILER)

disappointing (SPOILER)


I watched this because the screenwriter was William Goldman: "The Princess Bride" "Butch Cassidy and the Sundance Kid" "All the President's Men" "Misery"--so many great scripts. I kept waiting for some of his brilliant dialog, but it never happened. This was just a run of the mill detective yarn, made more tiresome by the phony "Hollywood Hip" scenes.
Paul Newman does a yeoman-like job, and all the acting was good (except for Janet Leigh, who as always, plays Janet Leigh, acting and speaking in a way totally interchangeable with all her other roles), but it was just one boring situation after another. I figured out about 20 minutes into it who was going to end up being the kidnapper and who was going to be the one to kill Samson.
My husband, a Ross MacDonald fan, watched it with me and didn't care for it either.

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I watched this because the screenwriter was William Goldman: "The Princess Bride" "Butch Cassidy and the Sundance Kid" "All the President's Men" "Misery"--so many great scripts. I kept waiting for some of his brilliant dialog, but it never happened. - intofilm

Keep in mind, though, that this was William Goldman's second credited screenplay, and the examples you give all came later.

Goldman was certainly the go-to scribe for films in the 1970s before becoming a "veteran presence" later on. I first knew him, before I started paying attention to who wrote movies (or who gets the credit for writing them, which is a whole other story), from his novel The Princess Bride, which I loved as a young teenager. Then I began learning about the films that he wrote, with some, such as Butch Cassidy and the Sundance Kid, ones that I watched repeatedly as a kid, and others, such as Marathon Man and A Bridge Too Far, favorites in my teens and young adult years.

But time has a way of leveling things. I used to think that a line such as, "Boy, I got vision, and the rest of the world wears bifocals" (from Butch Cassidy) was really clever; now it just sounds glib, and some other bits of dialog from that movie sounds as if it was straining for that "Hollywood Hip" you mention in connection with Harper. (Yes, I realize that Butch Cassidy consciously aimed for anachronism, which is a mixed blessing in hindsight.)

As for Harper itself, I haven't seen it for years. As I post this, I have it on my DVR, having just recorded it from Turner Classic Movies as part of its celebration of Lauren Bacall. My recollection is that, as far as detective stories go, it wasn't supposed to be The Big Sleep in terms of plot complexity; it was supposed to be more of, as you note, a snapshot of then-contemporary chic, so I'll see how that holds up shortly. I do recall that, as a kid, Harper introduced me to the phrase "hot and bothered"--Pamela Tiffin helped to illustrate that for me.

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"Build high for happiness." - Red Kangs. Red Kangs are the best Kangs.

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Goldman's awesome. So many great scenes, situations, and dialogue exchanges. One of the most fertile imaginations in Hollywood. And his novels are terrific too.

And BUTCH is every bit as wonderful today as it was 40 years ago.

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-- didn't impress you or make you laugh out loud, as it did me. Is it Goldman's best screenplay? Hardly. But it's also far from his worst (a trophy that goes to DREAMCATCHER, which, to be fair, Goldman was heavily rewritten on by director Lawrence Kasdan).

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Likely Goldman was hamstrung here trying to mix his witty dialogue with the dialogue from the Ross MacDonald novel(which was written in 1949.) Still, I think Goldman got through in exchanges like this:

Newman to bartender: Keep the change.
Bartender: There is no change.
Newman: (Pause) Keep it anyway...

Sheriff to Newman: I can get ugly about this, Harper.
Newman: You ARE ugly.

And some of his one-liners with Pamela Tiffin.

But William Goldman perhaps needed time and seasoning to come up with lines as great as those in Butch Cassidy. Thereafter, he was always trying to live up TO Butch Cassidy. His lines for The Hot Rock(with Redford and George Segal as a modern day Butch and Sundance) were good, but not great. Marathon Man was more about the gore than the lines. Etc.


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