Film Review: The Pursuit of D.B. Cooper (dir by Roger Spottiswoode and Buzz Kulik)


The story of D.B. Cooper has always fascinated me.

D.B. Cooper is the name assigned to a man who, in 1971, hijacked an airplane, demanded $200,000, and then jumped off the plane after he got the money.  Reportedly, he was well-dressed and unfailingly polite during the entire hijacking.  When he jumped off the plane, he was about 10,000 feet over the Washington wilderness.  After he jumped, no further trace was found of him.  Over 50 years after the incident, the identity and the location of D.B. Cooper remains a mystery.

It’s been said that, even though Cooper had a parachute with him when he jumped, there’s no way that he could have survived the jump.  And yet, no body has ever been found.  (Of course, finding a body in the wilderness is not as easy as some people assume.)  Nine years after the the skyjacking, some of the money that Cooper received was found on the banks of the Columbia River, which was several miles away from the area that Cooper jumped over.  Did Cooper survive the jump and lose the money?  No one can say for sure.

Over the years, many people have come forward to say that they know the identity of D.B. Cooper.  Many distant fathers and secretive boyfriends and long lost friends have been accused of being D.B. Cooper.  Some of those suspects are more likely than others.  Even John List, the murderer who inspired the Stepfather films, was suspected at one point.

D.B. Cooper remains a fascinating character precisely because he’s never been captured and the mystery itself will probably never be solved.  Because he remains an enigma, it’s easy to project your own pet obsessions on him and his story.  Myself, I always imagine D.B. Cooper as being some sort of clever, fun-loving international rogue, even though there’s not really any evidence to back that up.  But, the fact of the matter is that I have a weakness for clever, fun-loving international rogues so, of course, that’s who I’m going to imagine D.B. to be.

I certainly would never imagine him to be like the character at the center of 1981’s The Pursuit of D.B. Cooper.

In this film, D.B. Cooper turns out to be Jim Meade (Treat Williams), a Vietnam vet and all around jackass who steals the money so that he can get back together with his estranged wife, Hannah (Kathryn Harrold).  Hannah does take him back because, seriously, who is going to say no to that much money?  Jim and Hannah spend the entire film running from one wilderness location to another.  They steal cars.  They steal trucks.  Meade steals an airplane at one point.  Hannah gets worried often and Jim tends to yell, “Woo hoo!” whenever he gets excited about anything.  At one point, Jim and Hannah are chased across some white water rapids.  When Hannah and Jim reach dry land, Jim gives the finger to the river.  I will say that, as someone who grew up in the South, Jim is a type of character who seems very familiar to me.  I’ve known a lot of Jim Meades and Treat Williams doesn’t do bad job playing Meade as being an impulsive, loud-mouthed good old boy.  The only problem is that, at no point, does Jim Meade come across like someone who could have pulled off what D.B. Cooper pulled off.

Jim is being pursued by two old army buddies.  The scruffier of the two is Remson (Paul Gleason), who somehow manages to keep popping up like a cartoon character at the most inopportune of times.  No matter what bad thing happens to Remson, he still shows up good-as-new a few minutes later.  Paul Gleason gives an energetic performance as Remson, a character who has little in common with the uptight authority figures that Gleason later played in The Breakfast Club and Die Hard.

The other person chasing Jim is Bill Gruen (Robert Duvall), who served with Meade in Vietnam but who is now working as an insurance investigator.  Gruen says that he knew Meade had to be D.B. Cooper because only Meade could survive jumping out of a plane over wilderness terrain.  Gruen wants some of the money for himself.  Despite his greed, it’s hard not to like Gruen because he’s played by Robert Duvall.  The best scene in the film is one where Duvall and Williams, exhausted from chasing each other, have a weary but friendly conversation.  It’s the one moment where Williams actually calms down and provides some hint that there’s actually something going on underneath Meade’s manic exterior.  Acting opposite Duvall brings out the best in him.

The Pursuit of D.B. Cooper had a notoriously troubled production and apparently, there was never a completed script during shooting.  Reportedly, bits of the film were directed by Robert Mulligan, John Frankenheimer, and Buzz Kulik before Roger Spottiswoode took over.  It’s a film that was obviously inspired by 70s chase films like Smokey and the Bandit but it also somehow managed to attract actors like Robert Duvall, who does his best to class up the joint.  The action quickly gets repetitive and the movie never seems to know if it wants to be a comedy or a drama.  On the plus side, Treat Williams and Kathryn Harrold make for a cute couple.

When this picture first came out, Universal Pictures offered a million dollar reward for any information that would lead to the capture and arrest of the real D.B. Cooper.  No one collected.

The Hunter (1980, directed by Buzz Kulick)


 

In The Hunter, legendary car nut, Steven McQueen, plays Papa Thorson, a bounty hunter who is a very bad driver.

That’s it.

That’s the joke.

Papa Thorson was a real-life bounty hunter, the Dog the Bounty Hunter of his day, and The Hunter was based on his own autobiography.  Maybe that explains why the film itself is so extremely episodic.  Thorson goes from one assignment to another, capturing criminals with relative ease and occasionally having to deal with an unappreciative sheriff (Ben Johnson).  Along the way, one of those criminals (Levar Burton) goes to work with Papa and becomes his protege.  Papa’s girlfriend (Kathryn Harrold) is pregnant and a crazed criminal (Tracey Walter) is targeting her because he wants revenge on Papa for putting him away.  It’s all Magnum P.I.-level stuff, without the backdrop of Hawaii to distract you from how predictable it all is.  It’s not terrible because there are a few good action scenes but it still feels more like a pilot for a weekly Papa Thorson television series than a feature film.

The Hunter was also Steve McQueen’s final film.  After The Towering Inferno, McQueen was inactive for most of the 70s.  He still received scripts and turned down good parts (including the roles of both Willard and Kurtz in Apocalypse Now) but the only film in which he appeared in a barely released version of An Enemy of the People.  It wasn’t until 1980 that McQueen finally started appearing in movies again, starring in both Tom Horn and The Hunter.  Tom Horn is an underrated western but The Hunter is largely forgettable.  Sadly, The Hunter would be McQueen’s last film as he died of lung cancer shortly after it was released.

McQueen was obviously ill during the filming of The Hunter, though he still had the laconic coolness that made him a star in the first place and he still looks credible, even at the age of 50, handling a gun and chasing criminals.  He doesn’t give a bad performance as Thorson and he even shows a talent for comedy.  Both Tom Horn and The Hunter show that McQueen wasn’t afraid to play his age.  Neither Tom Horn nor Thorson were young men and, in The Hunter, McQueen gets a lot of mileage out of being a cranky, middle-aged malcontent who has never figured out how to parallel park.  The film might be forgettable but Steve McQueen shows that, to the end, he was an actor who was often better than his material.

Back to School Part II #7: Cage Without A Key (dir by Buzz Kulik)


Cage-without-a-key_tv-guide-poster

For the fifth film in my Back To School series of reviews, I watched Cage Without A Key, a made-for-TV movie from 1975.

17 year-old Valerie Smith (Susan Dey) would appear to have everything.  She has a loving mother and a loyal best friend.  She just graduated from high school and has been accepted to a good college.  She’s looking forward to going down to San Francisco for the weekend before starting her summer job.  The future look great and, of course, that means that she’s about to make the biggest mistake of her life.

And she’s going to do it 70s style!

When her car breaks down on the way to San Francisco, she makes the mistake of accepting a ride from a long-haired guy in a Volkswagen microbus.  Buddy Goleta (Sam Bottoms, in full 70s weirdo mode) went to high school with Valerie and appears to have a crush on her.  Buddy also appears to be a little bit crazy himself as he tells everyone that he meets that Valerie is “my old lady.”  Finally, Buddy pulls over to a convenience store and kills everyone inside.  Since Valerie’s in the microbus, she gets arrested along with Buddy.  Since Buddy claims that he and Valerie are lovers, she’s convicted of being an accessory and is sentenced to a … REFORM SCHOOL!

(Cue dramatic music.)

The warden — Mrs. Little (Katharine Helmond) — insists that she’s not running a prison.  Instead, she’s running a very progressive school where the students all happen to be thieves and murderers.  The school even has pleasant euphemisms for all the standard prison film elements.  For instance, no one is put in solitary confinement.  Instead, they’re sent to meditation.

Anyway, while Valerie waits for her dedicated public defender (David Brandon) to prove her innocence and get her out of reform school, she finds herself being approached by the various gangs who run the school.  Valerie says she doesn’t want anything to do with any of that.  She just wants to fly under the radar until she’s set free.  But then she’s approached by a predatory lesbian and, as we all known from watching other prison films, nothing will make you join a gang faster than being approached by a predatory lesbian…

Okay, Cage Without A Key is not exactly Orange Is The New Black.  What it is, however, is a time capsule of the time it was made.  Everything from the slang to the clothes to the attitudes to the squishy, upper class liberalism of Valerie’s lawyer practically screams 1970s.

Add to that, classic film lovers will appreciate the fact that the evil gang leader is named Suzy Kurosawa!

Incidentally, Cage Without A Key was written by Joanna Lee, who readers of this site will probably best remember for playing one of the alien invaders in Plan 9 From Outer Space.

http://www.youtube.com/watch?v=8jU37bRN5t0