J W COOP (1971)

Title: J W COOP

Year of Release: 1971

Director: Cliff Robertson

Genre: Western, Drama, Road Movie

Synopsis: After being released from prison, J W Coop aims to reassume his place as a professional rodeo cowboy.

Within a film history context: Character studies of rodeo cowboys have been onscreen since the silent period of cinema. One of the first was silent film THE CALGARY STAMPEDE (1925), directed by Herbert Blache. In this movie, a cowboy is thought to have murdered his amour's father, but is declared innocent when the real culprit comes to light. In D. Ross Lederman's THE RIDING TORNADO (1932), Tim McCoy battles horse thieves and becomes involved in intrigue, while also falling for a young woman. Actor John Wayne featured in many films of the era as a rodeo cowboy, and Fred Allen's RIDE HIM, COWBOY (1932), was no exception. Here, Mr Wayne takes on a horse which is thought to have committed murder, but his investigations lead to the real assailant, which lands him in jail. Many of the films of this era had a solid storyline which explored more dramatic angles, while others had a more comic outlook.

SOMEWHERE IN SONORA (1933), directed by Mack V. Wright, was a comedy drama of a rodeo cowboy attempting to curb the robbery of his lady friend's silver mine. In Lloyd Bacon's COWBOY FROM BROOKLYN (1938), a rodeo cowboy was challenged in his pursuit of a career in radio with a catch - that he show evidence he was, indeed, a cowboy. In a similar humorous fashion, THE COWBOY AND THE LADY (1938), directed by H.C. Potter, was a mistaken identity comedy, with a wealthy woman acting as a maid, and falling for a down-to-earth rodeo cowboy. The 1940s followed a comparable thematic line, with comedies, dramas, and musicals in the cowboy motif prevalent.

Gene Autry was the lead in CAROLINA MOON (1940), directed by Frank McDonald. In this film, Mr Autry brought justice to a place where landowners had been illegally divested of their holdings by an unscrupulous man, with some musical trimmings. In Joseph Kane's KING OF THE COWBOYS (1943), Roy Rogers joins forces with other men to end the demolition of government warehouses by criminals. Diverting from the previous themes, A LADY TAKES A CHANCE (1943), directed by William A. Seiter, mined more romantic territory. In this picture, cowboy John Wayne entrances Jean Arthur, and they become an item. In contrast to the 1940s films, the 1950s movies brought with them less sentimental, and tougher explorations of the rodeo cowboy theme.

THE LUSTY MEN (1952), co-directed by Nicholas Ray and Robert Parrish, was a look into the more domestic aspects of a rodeo cowboy's life, with the wife of a cowboy baulking at her husband's involvement in the sport. Richard Fleisher's RODEO (1953), in a similar manner to THE LUSTY MEN, documented the impact of rodeo on a cowboy's life, and how this affected both himself, and his wife. Different in approach was BUS STOP (1956), directed by Joshua Logan. Starring Marilyn Monroe as Cherie and Don Murray as Bo, the film's cowboy protagonist, it explored the relationship between the leads, as Bo wanted to marry Cherie, and live with her on his ranch. Moving into the 1960s, John Huston's THE MISFITS (1961), was a realistic drama of a cowboy falling in love with a divorced woman, again starring Marilyn Monroe, exploring the repercussions of this union. 

HUD (1963), directed by Martin Ritt, was the story of an unorthodox Texas rodeo cowboy who makes the existences of everyone around him a misery with his self-centred view of life. Burt Kennedy's THE ROUNDERS (1965), charted the comical exploits of two cowboys, and the many zany situations in which they find themselves. In comparison, TICKLE ME (1965), directed by Norman Taurog, was an Elvis Presley vehicle with the singer as a rodeo cowboy who falls into work at a ranch which is, in fact, an all-female fitness centre. Peter Tewksbury's STAY AWAY, JOE (1968), was another film with Elvis Presley as a rodeo cowboy. In this instance, the escapades of an American Indian rodeo star are highlighted, specifically attempting to assist his people in a number of unconventional ways. J W COOP was one of the strongest, and most serious of the films dealing with a rodeo cowboy. 

J W COOP was definitely of the dramatic persuasion, but its focus was on weaving a character portrait for viewers, thus avoiding action scenarios. Many of the earlier examples had predominate action-adventure leanings, such as THE CALGARY STAMPEDE, THE RIDING TORNADO, and KING OF THE COWBOYS. The personal lives of the rodeo cowboy took a back seat to visual spectacle here. From THE LUSTY MEN onward until HUD, though, there was an attempt at more intimate, candid portraits of rodeo cowboys, these moving away from the more simplistic narratives from beforehand. J W COOP falls into this category of movies, charting the reactions of other people to the particular rodeo cowboy, and his lifestyle. There is a deeper synthesis of viewpoints on display for viewers to ponder about its main character, instead of a rodeo cowboy just saving the day for others. Furthermore, J W COOP did concentrate on its lead, as did RODEO, BUS STOP, THE MISFITS, and HUD, but the cast of supporting players did not remain fixed, as was evident in HUD, with Hud taking on, and being contrasted, with the other characters. The people who largely come and go in J W COOP are utilized differently than prior examples. As J W COOP is the study of a man seeking to be a rodeo cowboy, and this entails going from one place to another, the fluid nature of the story reflects this, as the movie thereby has some relation to road movies. There are shades of this in J W COOP, but these parts always relate back to J W Coop himself, without becoming another type of film. One of the most intriguing of the pictures of a rodeo cowboy, J W COOP adds its own flourish to this collection of movies. 

 

Overview: Cliff Robertson was an American actor who appeared in over fifty motion pictures during his fifty-two year screen career. As a performer, he won a Best Actor Academy Award for his performance as an intellectually disabled man in CHARLY (1968). Mr Robertson directed only two pictures in his career, with THE PILOT (1980), being his second and final effort. The struggles of an airline pilot to maintain his balance in the face of alcohol addiction was the focus here, but the movie was not a popular success. Cliff Robertson's first picture, J W COOP (1971), was his best film, and the one for which he will be most remembered as a director.

With J W COOP, Cliff Robertson has crafted an earnest, lyrical film. Taking as its main focus a middle-aged cowboy seeking to make it big on the rodeo circuit after a long absence, it is a thoughtful and touching movie experience. Mr Robertson achieves this effect in the following ways. He displays a sheer respect for, and understanding of, his protagonist, way of life, and motivations. Cliff Robertson makes certain that the audience comprehends exactly where J W Coop is coming from, and identification with its engaging protagonist is therefore guaranteed. Aside from this, J W COOP has a uniquely luxurious pace and tone which allow for scenes to unravel in a natural, dignified way. It quietly takes its time with everything, and this unrushed feel is one of its best qualities. Even with the more raucous stretches, these are not out of place, as J W COOP has the correct balance to accommodate these. J W COOP does have many qualities to recommend it, but there are specific aspects which could have benefitted from improvement. 

The spectator is offered an intense look into what makes J W Coop tick from his first appearance in the movie, but his backstory is insufficiently examined. There is some time given to his family life, particularly his relationship with his mother and father, but J W Coop's personal life prior to his prison term is sketchy to say the least. More details about him would have made the movie even stronger, such as the revealing sequence with his father, which was fleeting. In addition, the pairing of J W and Bean does have credibility, but, again, her life is an enigma. Bean is a hippie, but the reasons that brought her to being one are not explored. The May-December romance of J W and Bean seems to be founded on the basis of a younger woman wanting an older man, but what is behind this, again, remains something for viewers to work out in their own mind. These gaps are frustrating to witness, but, thankfully, do not hinder the picture as a whole. One thing, though, is for certain in speaking of this film. J W COOP is Cliff Robertson's most solid directorial achievement, and a penetrating character study of a rodeo cowboy, and the sport itself.

Acting: There are several illuminating performances in J W COOP which are worthy of mention. In the lead role of rodeo cowboy J W Coop, Cliff Robertson is in yet another great acting portrayal. A versatile actor with a serious approach to his craft, able to play all sides of the emotional spectrum, here makes the complex J W Coop someone for whom the audience can sympathize. There are three actresses in smaller roles who, nonetheless, are notable for their contributions to the movie alongside Cliff Robertson.

As Dora Mae, the touchy barmaid in the middle of a slow-burn argument, Beverly Powers makes a strong impression in her brief role, suggesting that there was much more to her than first meets the eye. An actress active from the early 1960s until the mid-1970s, she makes the maximum of her limited engagement count. The flirty Bonnie May, able to mouth innuendo and suggestive talk with ease, and sheer glee, is brought to life by Mary-Robin Redd. With her calm, uninhibited manner, her stint in the movie is all the more amusing after her altercation with Big Marge. The last contribution of note to the movie is by Marjorie Durant as Big Marge, one-time love of J W Coop from the past, and his all-round supporter. Miss Durant is rollicking, and always fun to watch here, but also displays a nous, and sensitivity, giving Big Marge a depth, and adding another perspective on the life and times of J W Coop.

Soundtrack: J W COOP has a soundtrack which definitely complements the onscreen action. The score by Don Randi is perfect, ticking all the boxes. Alternately tender, boisterous, and touching, it suits every situation in which it is employed. Likewise, Louie Shelton's guitar rhythms are also beautiful, adding a thoughtful edge to the movie, especially evident in the second half of the opening credits. 

Mise-en-scene: J W COOP is utterly convincing with what it presents to viewers in a visual sense. Frank Stanley's cinematography splendidly captures the rugged landscapes which the movie spotlights, giving these an air of dignity, and wonder for the eye to behold. Exterior locations are all excellent, and well-selected. They offer an impressive non-verbal account of the protagonist's life which speaks volumes. Editing by Alex Beaton is another strong suit, with the rodeo scenes edited for maximum impact, and, in particular, the final moments of the picture.

Notable Acting Performances: Cliff Robertson, Beverly Powers, Mary-Robin Redd, Marjorie Durant.

Suitability for young viewers: No. Infrequent coarse language, brief female nudity, adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page