DIRTY LITTLE BILLY (1972)

Title: DIRTY LITTLE BILLY

Year of Release: 1972

Director: Stan Dragoti

Genre: Western

Synopsis: The life of Billy the Kid in all its stark rawness.

Within a film history context: There have been quite a few films over the years dealing with Billy the Kid. One of the first was a possibly lost movie, J.P. McGowan's BILLY THE KID (1925), with western star Franklyn Farnum in the titular role. More well-known was BILLY THE KID (1930), directed by King Vidor. It charted the relationship between Billy the Kid and lawman Pat Garrett, specifically whether Pat Garrett should bring Billy to account for a crime he committed. Sam Newfield's BILLY THE KID OUTLAWED (1940), cast Billy the Kid in a more righteous light, seeking to avenge the killing of two ranchers. BILLY THE KID (1941), directed by David Miller, was a remake of the 1930 movie, this time with Robert Taylor in the lead role. The movie concentrated upon the relationship between Billy the Kid and Jim Sherwood, and how events tested their friendship. Sam Newfield's BILLY THE KID TRAPPED (1942), had Billy the Kid and others escaping from jail, trying to track down those who dressed as them, and committed crimes. THE OUTLAW (1943), directed by Howard Hughes, concentrated on the interactions between Billy the Kid, Doc Holliday, and Pat Garrett, with an added romantic angle for Billy the Kid with Rio McDonald. More fantastical was Ray Taylor's SON OF BILLY THE KID (1949). A play on real events, the film presents Billy the Kid as being alive, and now a banker whose bank is under siege by outlaws. THE KID FROM TEXAS (1950), directed by Kurt Neumann, was a darker movie about Billy the Kid, with him involved in land disputes and other related mayhem. William Berke's short film I SHOT BILLY THE KID (1950), was another exploration of the relationship between Billy the Kid and Pat Garrett, lasting less than one hour in duration. 

THE LAW VS. BILLY THE KID (1954), directed by William Castle, was a movie that again attempted to paint a view of Billy the Kid as righteous. In this instance, Billy the Kid is pursued by someone as he has taken money owed to him, and finds not only trouble, but also time for some romance. Oliver Drake's THE PARSON AND THE OUTLAW (1957), was yet another in a line of films which gave a more benign view of Billy the Kid. Here, a preacher enlists the assistance of Billy the Kid, who is living in anonymity in a new town, to take on a corrupt man and his henchman. BILLY THE KID VERSUS DRACULA (1966), directed by William Beaudine, was entirely different from previous takes on the character. Casting Billy the Kid in a heroic light, it was about how he saves his ladylove from the clutches of Dracula, who wants her as his new mate. Julio Buchs' Spanish-Italian production I'LL KILL HIM AND RETURN ALONE (1967), again gave a sympathetic account of Billy the Kid, this time having him protect his mother, becoming an outlaw in the process, but also, falling in love. CHISUM (1970), directed by Andrew V. McLaglen, offered a distinctive portrait of Billy the Kid. He becomes embroiled in the Lincoln County War, and a partner in the many violent events of this incident. DIRTY LITTLE BILLY was another interpretation on the legend of Billy the Kid, and one of the best.

There were a number of features which distinguished DIRTY LITTLE BILLY from the other film versions of Billy the Kid. While many of the previous movies detailed the interactions between Billy the Kid and Pat Garrett, such as BILLY THE KID, THE OUTLAW, and I SHOT BILLY THE KID, to name but a few examples, DIRTY LITTLE BILLY did not present Garrett at all within the narrative world, likewise with Doc Holliday. Instead, Billy and Goldie's relationship was the main focus in the movie, which was in keeping with the two-character approach of many Billy the Kid movies. In addition, other characters who generally were not in the other pictures also made their presence felt in DIRTY LITTLE BILLY, such as Billy's mother. This gave the movie a different set of circumstances which to explore, moving it away from Billy the Kid being pursued by Pat Garrett, or other standard scenarios. Billy's mother and stepfather added depth and complexity to the proceedings, making evident Billy's feelings about life, and providing rationale somewhat for his behavior. 

Unlike the films with a romantic angle for Billy the Kid, such as THE OUTLAW, and THE LAW VS. BILLY THE KID, in DIRTY LITTLE BILLY Billy's relationship with Berle was strained at first, and the first woman for whom he had an attachment, but it could hardly be classified as being romantic in nature. This is in keeping with the film's overriding emphasis on realism, far detached from the escapism of other Billy the Kid entries. It has connections with the darker movies about Billy the Kid such as THE KID FROM TEXAS, being that Billy the Kid was not as two-dimensional as in other movies. In DIRTY LITTLE BILLY, there is great care to present Billy not as a total villain, or overly sympathetic, which past films delivered. Here he is neither fully evil nor kind, rather an impressionable character falling into crime as a victim of his intellectual level, and circumstances. This gives Billy the Kid a more realistic, rounded set of traits taking him away from the simplistic depictions of the other examples over the years. An excellent account of the Wild West, providing a different insight into Billy the Kid, DIRTY LITTLE BILLY is a well-made portrait of a person, time and place which have been romanticized far too often in film history.

Overview: Stan Dragoti made six films over the space of nineteen years, generally comedies, but with the odd drama. His second movie, LOVE AT FIRST BITE (1979), was a financially successful comedy horror film about Count Dracula, and the pursuit of his love in New York. Next was MR. MOM (1981), which, as with LOVE AT FIRST BITE, was another box office success for Mr Dragoti. The story of a man who loses his job, and stays home to raise a family and keep house, resonated with the public, and was one of the year's most commercially profitable movies. This was followed by THE MAN WITH ONE RED SHOE (1985), another comedy. An innocent violinist prone to a number of calamities is pursued by the CIA, with romantic difficulties and intrigue explored. The combination of comic and thriller elements was not as warmly received in this instance, and despite the presence of Tom Hanks in the lead, made a financial loss. 

Stan Dragoti's fourth film was SHE'S OUT OF CONTROL (1989), yet another comedy. A young woman makes a massive change to her physical appearance, and becomes popular with young men, despite already having a boyfriend. Her widowed father, though, has grave concerns, this leading him to obsession with this predicament, enlisting a psychiatrist for advice. Stan Dragoti's final film, NECESSARY ROUGHNESS (1991), had him again in comedy territory. The antics of a Texas University football team was the subject of this movie, but unlike Mr Dargoti's two previous movies, was a box office success with the public. DIRTY LITTLE BILLY was Stan Dragoti's directorial debut, and his best movie.

With DIRTY LITTLE BILLY, Stan Dragoti has created a striking version of the life of outlaw Billy the Kid. From the opening scenes to the very end, the movie is a compelling account of the life of the notorious criminal. It seeks to not glamorize his life but also, makes it understandable as to why he acted as he did. Much of this seems to stem from his fractured upbringing, his widowed mother marrying another man, and Billy not being able to connect with his stepfather. There is also the related implication in the movie that a distinct lack of opportunity, and education, was another draw into crime for someone not sure what to do with their life. 

Billy not being able to see beyond the confines of the repressive, bleak environment is something which Mr Dragoti expresses so vividly in DIRTY LITTLE BILLY. The movie is just so well mounted, and thoroughly convincing, it is difficult to take the visions of depressing Kansas landscapes out of one's mind. As an example of Stan Dragoti's work, it is totally contrary to his following films, which were more commercially-geared, and mainly comedic in tone. With DIRTY LITTLE BILLY matters are of a contrary nature. DIRTY LITTLE BILLY is an artistic, thoughtful movie that makes the viewer yearn to ponder what Stan Dragoti could have made in a similar vein, but unfortunately did not deliver in his filmmaking after the movie.

Acting: The main performances in DIRTY LITTLE BILLY are all first-rate. As Billy Bonney, notorious outlaw of the wild west, Michael J. Pollard contributes another fine example of screen acting. An actor with an understated, lightly humorous, yet compelling manner, Mr Pollard provided a great representation of the infamous 1800s criminal. Billy's friend Goldie is also made memorable by Richard Evans. With his penetrating stare and no holds barred way of doing things, Mr Evans is well paired with Michael J. Pollard as the footloose criminal combo. The third party in this trio, Berle, is played with astonishing strength by Lee Purcell. Berle is a thoroughly three-dimensional character, by turns tough, tender, and uncompromising. Miss Purcell gives it her all as Berle, and the character's outcome is one of the most memorable sequences in the film. The final acting contribution of note is by Dran Hamilton as Cath McCarty, Billy's mother. A woman in a difficult position, trying to hold onto her son despite her husband's, and Billy's stepfather's, protestations, Miss Hamilton makes Cath's plight understandable, her actions invoking sympathy from the viewer. 

Soundtrack: Musical accompaniment to the visuals is one of the most low-key elements of DIRTY LITTLE BILLY. Sascha Burland's banjo score is present in several scenes, enriching these with a sense of 1800s rural American, and the Wild West, but it is a movie that does not depend upon music. DIRTY LITTLE BILLY prefers to concentrate upon what is taking place onscreen, and building tension for the viewer largely without the use of music.

Mise-en-scene: One of the most striking aspects of DIRTY LITTLE BILLY is what appears onscreen for viewers. Despite the uncompromising nature of its content, and harsh landscapes often featured in the movie, Ralph Woolsey's cinematography is beautiful, giving the film an easy on the eyes watchability that works to balance the film's toughness. Lighting is another prominent attribute of DIRTY LITTLE BILLY. The indoor sequences especially are lit in a natural way, emphasizing the harsh life of the protagonists in the 1800s. The movie does have periodic bursts of violence, but these have been carefully shot in order to avoid exploitative gory connotations, the indoor scenes of mayhem excellently executed. Set decoration by George James Hopkins is another standout, creating a story world that is utterly real, and transfixing to witness. The home of Billy's family, and Berle and Goldie's shack, to name two examples, are both evocative of the time and place which the film demonstrates in its exceptional way. 

Notable Acting Performances: Michael J. Pollard, Richard Evans, Lee Purcell, Dran Hamilton.

Suitability for young viewers: No. Adult themes, high-level violence.

Overall Grade: A

Link: IMDB Page

LITTLE FAUSS AND BIG HALSY (1970)

Title: LITTLE FAUSS AND BIG HALSY

Year of Release: 1970

Director: Sidney J. Furie

Genre: Action, Drama, Comedy

Synopsis: A professional motorcycle racer befriends an amateur racer in Arizona, and subsequently compete not only in business but also, in love.

Within a film history context: Movies with motorcycle racer protagonists, competing in professional races, sometimes appeared in cinema before 1970. This was in comparison to the many films which featured motorcycle racing characters who did this as a leisure pursuit, or in a rebellious vein. Bernard Vorhaus' MONEY FOR SPEED (1933) was about the world of speedway racing, concentrating upon the romantic pursuits of its leading men, along with their personal competitiveness. Comedy movie NO LIMIT (1935), directed by Monty Banks, followed a chimney sweep who longs to compete in a motorcycle racing event, and achieves this, but faces competition from other racers. Jack Lee's ONCE A JOLLY SWAGMAN (1949) focused upon a motorcycle racer whose professional life affects his relationship with his wife. In contrast THE PACE THAT THRILLS (1952), directed by Leon Barsha, emphasized a love triangle between two motorcycle racers, and a reporter who covers their exploits for a newspaper. LITTLE FAUSS AND BIG HALSY was a picture that closely followed the lives of motorcycle racers, something the other entries also did, but branched out into fresh territory with its content.

As with all the other films, LITTLE FAUSS AND BIG HALSY had plenty of motorcycle action, something which added excitement and life to the narrative, and visual appeal for the viewer. The difference with LITTLE FAUSS AND BIG HALSY was the shooting of the movie in a rugged landscape. It was unlike NO LIMIT, and THE PACE THAT THRILLS, which had extensive outdoor shooting, but whose locations were of a more conventional nature. ONCE A JOLLY SWAGMAN differed again as much of the motorcycle sequences were based inside a racetrack setting. With LITTLE FAUSS AND BIG HALSY, the outdoor motorcycle segments took on a life of their own for their sheer authenticity. The dustiness of the long country roads, the sun beating down on those below, both participants and spectators, gave the impression of beautiful, but torturous terrain. This was a subtle metaphor for the difficulties of being a member of the motorcycle racing/dirt bike racing sport that the movie examined. Other features of LITTLE FAUSS AND BIG HALSY provided divergence from the other motorcycle racing films.

NO LIMIT'S slight romantic arc was not as pronounced as the following three examples. MONEY FOR SPEED, ONCE A JOLLY SWAGMAN, and THE PACE THAT THRILLS, on the other hand, had a predominant romance angle which dominated the movie. The first film had two men competing both personally, and in a professional sense. The second had more domestic leanings, with a racer's marriage impacted by his occupation. The third had a love triangle between two men, and a woman. LITTLE FAUSS AND BIG HALSY, in comparison, veered away from these scenarios. The rivalry between two men in both sport, and love was the spotlight, but was looser in the execution of its plotting, preferring a freeform structure. Neither Little Fauss, nor Big Halsy end up in a happy union with a woman, which was in opposition to NO LIMIT, MONEY FOR SPEED, ONCE A JOLLY SWAGMAN, or THE PACE THAT THRILLS. No stable male-female relationships eventuate, instead, a series of flings take place. Aside from this, LITTLE FAUSS AND BIG HALSY was made in 1970, and a relaxation in film censorship allowed for more openness in sexual content, and nudity, which the previous films, made in the 1930s, 1940s, and 1950s, could not depict. This had the effect of making the movie more liberal than its counterparts in terms of what appeared on the screen. A sojourn into the lives of motorcycle racers, LITTLE FAUSS AND BIG HALSY is an enjoyable film.

Overview: Sidney J. Furie is a prolific filmmaker who, over the course of his sixty-five year career, has directed forty-six feature films. Mr Furie is a generalist who has made movies in a number of genres, from crime, action, adventure, comedy to romance. His first film, A DANGEROUS AGE (1957) was a romance which charted the obstacles two young people faced in becoming a couple. Into the 1960s, he made THE BOYS (1962). A drama set in 1960s London, it followed the exploits of four teenagers involved in crime, a theme which Mr Furie explored on various occasions in his career. His next notable film was THE LEATHER BOYS (1964). This was the story of a young woman who marries a biker, thus explaining the leather of the title, and how his relationship with his friend impacts on the marriage. Starring a largely British cast, it was another step forward for Mr Furie in making daring movies. 1965 brought THE IPCRESS FILE to audiences. A thriller of espionage and double-cross, again with a British cast including Michael Caine and Gordon Jackson, it is noteworthy as a predecessor for the theme Mr Furie would later investigate in HIT! As a change of pace, Sidney Furie then tackled the action-romance genre in THE APPALOOSA (1966). Starring Marlon Brando, it focused upon a man's quest to take back his horse which has been appropriated by a Mexican man. The 1970s was a time of growth for Mr Furie, when he would make films about copious themes.

With the inception of the 1970s, Sidney Furie released THE LAWYER (1970). It followed a lawyer who becomes involved in a murder case, something different for the director. Mr Furie then filmed the biography of singer Billie Holliday, LADY SINGS THE BLUES (1972). With Diana Ross as Miss Holliday, it was one of his most famous, well-remembered movies, with memorable musical trimmings. HIT! (1973) was the story of a federal agent seeking to take down drug traffickers after the death of his daughter from an overdose. The remainder of the 1970s featured various types of movies in Mr Furie's oeuvre. SHEILA LEVINE IS DEAD AND LIVING IN NEW YORK (1975) gave Sidney Furie the opportunity to display his aptitude for comedy. In this movie, a young woman moves to New York City and finds love. Mr Furie again tackled a biographical film, GABLE AND LOMBARD (1976). The story of Clark Gable and his ill-fated wife Carole Lombard, it was a movie of a more romantic nature than usual, but critically derided upon release. Sidney Furie looked at Vietnam with THE BOYS IN COMPANY C (1977). A film with much profanity, it provided its cast with a realistic story about a boot camp that turns into a nightmare once the soldiers arrive in Vietnam. 

In the 1980s Mr Furie's movies were not as prominent as his 1970s pictures. After uncredited direction on two movies, he made THE ENTITY (1982). A horror film about a woman who is menaced by a demon she cannot see but of which she can definitely feel the presence, it was the first time he had made a horror genre entry. With PURPLE HEARTS (1984), Mr Furie revisited Vietnam, this time charting the love story of a doctor and a nurse. The remainder of the decade was devoted to two instalments of the IRON EAGLE franchise in 1986 and 1988 respectively, and, in 1987, a film in the Superman franchise, SUPERMAN IV: THE QUEST FOR PEACE. His films in the 1990s until the present are a mixture of his previous movies, mainly action movies, thrillers, war, and comedy.  Looking overall at the sheer scope of his works, LITTLE FAUSS AND BIG HALSY was one of Sidney Furie's lighter, but still satisfactory films.

With LITTLE FAUSS AND BIG HALSY, Sidney Furie has fashioned a diverting, fast-moving movie. It is the character study of Halsy Knox, a motorcycle racer, his friend Little Fauss, and various other uninhibited personalities they encounter along their journey together. The film depicts the rootless life of its central protagonist with vigor, showcasing him in different situations which ably express his nonconformist attitudes toward life and, in particular, his amorous entanglements with the opposite sex. It contrasts Halsy's swagger, and good looks to Fauss' less confident disposition, and lack of physical attractiveness. Aside from the central pair, the film also delineates their lives through their relationships with others, which give both Halsy and Little Fauss depth. The women they meet and are involved with, such as Rita and, in particular, Fauss' parents, also reveal other sides to these two characters. While LITTLE FAUSS AND BIG HALSY has some positive traits, there are a number of striking flaws evident when the movie is considered as a whole.

Admittedly, the freewheeling nature of the movie is something which gives it a certain offbeat appeal, but, unfortunately, this has been transferred to the film, causing it to lack continuity in certain departments. It would have been helpful if there was more of a backstory for Halsy, to explain why he acted the way he did. This is also applicable to Fauss, even though his parents appear, which is one of the movie's best aspects. In addition, the treatment of women in the film is lamentable, as they are largely painted as floozies with a body, and without psychological complexity. Rita, for example, seems to serve a purpose for a spell, but then is gone. In an attempt to maintain an organizing structure in the movie, it is admirable that the focus is contained to both Halsy and Fauss, but this is often to the detriment of peripheral characters. The major case of this is the death of Fauss' father, which is something that should have been given greater weight, but which is glossed over. 

Other omissions do hinder the tapestry of LITTLE FAUSS AND BIG HALSY. The movie, overall, does have issues with making events moving to the audience, with the effect that the picture is often apathetic toward depicting real emotions. The film's tendency to jump from one situation to another may seem fashionable, but leaves spectators with a feeling that something is lacking to make things compelling. If there were more highly charged moments of anger and sadness these would have made all the difference. It would have balanced the hijinks and frivolity, thus giving these a better place in the story. All in all, though, certain things can be said about LITTLE FAUSS AND BIG HALSY, despite its shortcomings. It is a likeable movie that tried to be in the here and now, but missed out on involving its audience in a more riveting manner. 

Acting: Several performances stand out in LITTLE FAUSS AND BIG HALSY for their authenticity. As Halsy Knox, the hard living, womanizing half of the eponymous duo, Robert Redford contributes yet another thoughtful screen interpretation. An actor with an air of profundity and ease, he makes his rogue someone very difficult to dislike, despite the character's behaviour and actions. The other half of this twosome is Little Fauss, played by Michael Pollard. A character actor whose soft voice and seemingly diffident manner made him perfect for roles in action or rural themed movies, he makes Little Fauss one more of his unique parts. As a side note what is also interesting about the movie is how there is no real chemistry between Halsy and Little Fauss. While they are distinctive as individual characters, as a combination the fire that should have been there is nowhere to be seen.

The main female character is not the most memorable in the movie for certain reasons. Unfortunately, the film is not a proper showcase for Lauren Hutton as Rita Nebraska, Halsy's lover. An actress whose smoky voice and demeanor is more befitted to films with glamorous locales and parts as sophisticated women, here she is not allowed to display her talent in a largely thankless role. On the other hand, Noah Beery Jr. and Lucille Benson as Seally Fauss and Mom Fauss, Little Fauss' parents, are captivating. Like two peas in a pod, these character actors give the movie an undertone of subtle humor, of people who have seen the best, and worst in life, and beautifully round out the acting in LITTLE FAUSS AND BIG HALSY.

Soundtrack: There are a number of tunes featured in LITTLE FAUSS AND BIG HALSY, but the most prominent is Johnny Cash's 'Ballad of Little Fauss and Big Halsy'. It is played at both the beginning, and end of the movie, similar to many 1970s films, and supplies an appropriate non-diegetic commentary on the characters, and their picaresque lives.

Mise-en-scene: What appears in front of the camera has been carefully considered in LITTLE FAUSS AND BIG HALSY. Cinematographer Ralph Woolsey photographs the movie in his usual effective way, in this case, making the harsh Arizona landscapes take on an unexpected beauty of their own. Locations are also well-selected, giving the impression of people living difficult lives but also, enjoying these at the same time. The motorcycle racing sequences are all exciting to watch, never giving the impression of artificiality, but of immediacy.

Notable Acting Performances: Robert Redford, Michael Pollard, Noah Beery Jr., Lucille Benson.

Suitability for young viewers: No. Infrequent coarse language, female nudity, adult themes.

Overall Grade: C

Link: IMDB Page

Trailer