WoD 2: Arthur Penn

Arthur Penn is most admired for the film Bonnie and Clyde - a film about the thirties as allegory for the sixties. His mastery of intensity and realism initially found only criticism for the violence visited by and upon B and C, but eventually won him plaudits and indeed 3 Oscars. But it ain't his masterpiece that gets Art on the Wall, it's the film that was scuppered by his cast and allegedly lead him to quit film for Broadway for over 5 years...


The Missouri Breaks is bonkers. When I first saw it I was mesmerised by Brando. Not for any scholarly filmic reasons, but just because he is so weird in it. I read that the scene that shows off all the hallmarks of classic Penn is that in which Marlon awakes to find Jack Nicholson poised to slit his throat. Well, p'raps. But my favorite scene is that in which they converse in Jack's 'garden' after Marlon has 'crawled up' on him. Here is one of those great movie moments where two of the most carnivorous scene-chewers face-off. And what a stand. Marlon is exuding some kind of strange menace expressed through the medium of camp-oirish (check out the hand on hip stance), whilst Jack is (for once) a picture of studied cool. The 'Jack-as-force-of-nature' Nicholson performances that have become so ordinary ("You want the truth...?") is eschewed for something that says more through less. Especially the hankie. Here at the Wall we're not schooled enough to know who succeeds in stealing the scene but I have yet to see two movie giants grapple with such a successful blend of sublime and ridiculous on any other screen.


So, despite all the stories of Brando being, well, Marlon Brando (turning up in drag, too lazy to learn lines etc etc), Arthur Penn: it is for Missouri Breaks that we salute you. Now enjoy the scene...