Dir: David Lowery | Cast: Robert Redford, Sissy Spacek | US Drama | 93mins
This mellow arthouse movie is a tongue in cheek tribute to gentlemen villains everywhere. The perfect antidote to crime thrillers, THE OLD MAN & THE GUN shoots the breeze with Robert Redford’s real life career criminal Forrest Tucker, reflecting over his glorious life of bank robbery. With its themes of ageing gracefully, living life to the full and being true to ourselves The Old Man and The Gun is a wistful experience enriched by polished performances from its well-oiled leads Spacek and Redford.
Redford’s Forrest Tucker is already into his 60s when we meet him in 1981 during a genteel crime spree in the Midwest. Approaching his banking targets he simply produces a gun and asks for the money. With a dozy detective on his trail in the shape of Casey Affleck (as John Hunt) Tucker is meanwhile casually turning his thoughts to romance and dating a rather sceptical woman called Jewel (Spacek), who’s not quite sure what to make of the charming old roué.
The Old Man is Lowery’s follow-up to his rather dour haunting fantasy A Ghost Story. But although both share that undercurrent of navel-gazing introspection that has mulling over the meaning of life, this is a much more upbeat affair that nevertheless packs a powerful undercurrent of tension in its final scenes. The real life Tucker was well into his 80s when he died in 2004. And there’s something faintly laudable about his method of making a living. No-one ever gets hurt, and there’s no deception, although Tucker possesses a steely resolve in his recidivism — Lowery plays on that most disarming of human qualities: the element of surprise. Tucker maintains a genial charm throughout, always cutting to the chase but with charisma in spades. And he slowly builds a convincing relationship with Jewel, who’s attracted to his magnetism despite her better judgement, always aware that at some point she be short-changed.
Old Man has a criminal pulse but it’s a steady one. Craftily, Lowery has us believe that Old Man will be a cat-and-mouse game between Hunt and Tucker. But then he film turns into a much more subtle affair, building rich characterisations of the smiling but steely villain and his half-hearted oppressor, Old Man plays out as a slow-burning study of criminal motivation and mutual respect. Affleck’s Hunt is bemused and mildly fascinated by what makes Tucker tick. And there’s one scene where the two meet in the bathroom that really showcases this charm offensive between the two men. But Hunt’s more interested in staying home with his wife, and mentoring his kids on police methods rather than rushing around frenetically chasing wrongdoers.
The Old Man owes its immense charm to Redford who is really brilliant as the twinkly- eyed thief. There’s deep sadness and longing behind the warmth of his wry smile, rather than any desire to hurt or deceive. His atavistic urge to escape and re-offend is clearly rooted in his childhood – it’s at his very core and keeps him alive.
Joe Anderson’s grainy Super 16mm visually gives the film that retro feel. Daniel Hart’s loose-limbed tuneful score puts a rosy spins on proceedings — Spacek barely conceals her clear affection for the loveable cad, but also the fear that she may lose him to pastures new. Tucker is a leopard who has no intention of changing his spots. MT
ON RELEASE FROM 7 DECEMBER 2018