Arduinna

When I heard tonight about Robert Redford, I did not think first of the immortal freeze-frame of Butch Cassidy and the Sundance Kid (1969) or the righteous paranoia of All the President's Men (1976) or even the perfectly anachronistic jazz of The Sting (1973) where I almost certainly first saw him, effortlessly beautiful even before he shines up from street-level short cons to the spectacular wire of the title grift. I thought of The Hot Rock (1972), a freewheelingly dumb-assed caper film of which I am deeply fond in no small part because of Redford. Specifically, his casting makes it look at first like the inevitable Hollywood misrepresentation of its 1970 Donald E. Westlake source novel, a cool jazz glow-up of the canonically, lankily nondescript Dortmunder whose heists always look completely reasonable on paper and in practice like a Rube Goldberg machine whose springs just sprang off. Only as the setbacks of the plot mount past aggravation into absurdity approaching Dada, of which the attempt to sneak into a precinct house via helicopter must rate highly even before the crew land on the wrong roof and the siege-minded lieutenant mistakes their break-in for the revolution, does the audience realize that this Dortmunder has the face of a screen idol and the flop sweat of a shlimazl, a man whose charisma is not an asset when it makes people think he knows what he's doing. "I've got no choice," he says doggedly of the eponymous diamond which he did at least once successfully steal, whence all their troubles began. "I'm not superstitious and I don't believe in jinxes, but that stone's jinxed me and it won't let go. I've been damn near bitten, shot at, peed on, and robbed, and worse is going to happen before it's done. So I'm taking my stand. I'm going all the way. Either I get it, or it gets me." When he acquires an incipient ulcer at the top of the second act, who's surprised? He glumly chews antacids as one of his meticulously premeditated schemes trips over its own shoelaces yet again. It may be the only time Redford played so far against his stardom, but he makes such a gorgeous loser with that tousle of coin-gold hair and an ever more disbelieving look in the matinée blue of his eyes, the Zeppo of his quartet of thieves who only looks like the normal one and no slouch in a stack of character actors from Moses Gunn and Zero Mostel through Lee Wallace and even a bit-part Christopher Guest, not to mention George Segal by whom he is characteristically almost run into a chain-link fence, trying to collect him from his latest stint upstate in a hot car with too many accessories. "Not that you're not the best, but a layman might wonder why you're all the time in jail." Harry Bellaver figured in so many noirs of the '40's and '50's, why should he not have retired to run a dive bar on Amsterdam Avenue patronized by exactly the kind of never-the-luck lowlifes he might once have played? The photography by Ed Brown goes on the list of great snapshots of New York, the screenplay by William Goldman is motor-mouthed quotable, the score by Quincy Jones never sounds cooler than when the characters it accompanies are failing their wisdom checks at land speed. Watching it as part of a Peter Yates crime trilogy between Bullitt (1968) and The Friends of Eddie Coyle (1973) may induce whiplash. It may not be major Redford, but it is beloved Redford of mine, and worthwhile weirdness to watch in his memory. This stand brought to you by my jinxed backers at Patreon.