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Candice Bergen

Review: The Wind and the Lion

[Originally published in Movietone News 42, July 1975]

The opening shots of rolling sea and thundering Berber cavalry, well-handled as they are, don’t really hint that The Wind and the Lion is going to be a good—more precisely, a special—movie. They might presage any epic film (“epic” in the Hollywood sense) since Ben-Hur, getting off to an obligatorily actionful start, only to succumb to Charlton Heston monumentality, Philip Yordan poeticalism, or what Pauline Kael once exasperatedly termed David Lean’s “goddam good taste.” The first indication that John Milius has something distinctive going here comes after the Berbers have reached and breached their destination, a compound above Morocco where, on this pleasant afternoon in 1904, they propose to kidnap thirtyish American widow Eden Pedecaris and her two children.

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Review: ‘Bite the Bullet’

[Originally published in Movietone News 42, July 1975]

Bite the Bullet will be easy for some people to underrate and easy for others to overrate—which evens out to saying it’s a pretty good movie. Richard Brooks has hardly specialized in Westerns, but those he’s made are worth remembering: The Last Hunt, an utterly original tale about buffalo hunters, full of pain and cold, and vouchsafing Robert Taylor and Stewart Granger rare opportunities to acquit themselves admirably; and The Professionals, a fat and sassy Mexican-bandido thing that bit off its gritty-romantic conceits too neatly for serious credibility but still yielded a generous portion of thrills, laughs, and shameless glory. Bite the Bullet is built around a 700-mile endurance race sponsored by a newspaper called The Western Press. The reporters and a few high-toned gamblers, promoters, and horse-owners travel by railroad while a satisfyingly diverse band of aspirants and one hired rider—cover the terrain the hard way.

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Blu-ray: ‘The Wind and the Lion’

John Milius occupies a curious place in the culture of American filmmakers of the seventies. In the age of new, young, maverick voices, he’s the rugged American individualist with conservative politics and iconoclastic heroes. He’s fascinated with military culture and imperialist adventure, caught up in the tension between American isolation and intervention, in debt to the romantic ideals of honor and duty idealized in John Ford’s cavalry films, and celebratory of the glory of battle, whether in war, on a surfboard challenging waves, or swinging a sword in the age of barbarism. In an era of secular liberalism, he’s the wildman conservative of mythical heroes and combat veterans, but he’s also more than that, as David Thomson notes in his Biographical Dictionary of Film: “He is an anarchist, he is articulate, and he has an unshakable faith in human grandeur….”

The Wind and the Lion (1972), the sophomore feature of the film school-trained screenwriter turned director, takes on a romantic tale of rebellion and response, honorable ancient codes and modern military might, and the first stirrings of the United States of America, the modern, maverick young country in a political culture dominated by the history-seeped empires of old Europe, as a world power. And it does so in a cagily budget-minded take on the sweeping military epics and colonial adventures of the 1950s and 1960s, a sensibility appropriated in the opening seconds of the film as Jerry Goldsmith’s grandly dramatic score plays under the credits etched into the handsome parchment of a yesteryear Hollywood frame.

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