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“The Old Man and the Gun,” a novel by David Lowery, is as deceptive as its protagonist. When it comes to robberies, few people can match the likability and gentlemanliness of John Dillinger, who went on one of the most infamous sprees in American history while being practically handed their money by tellers and bank managers. Even if the film itself isn’t particularly sophisticated, it’s another accomplished piece of work from a filmmaker who has now gone four for four and continues to surprise with the breadth of his interests and output. And it’s a love letter to a cinematic legend, serving as the ideal send-off for someone who long ago transcended the status of mere actor to achieve the status of cultural icon.
Of course, the legend in question is Robert Redford, who has stated that “The Old Man and the Gun” will be his final film appearance. Redford leans into this role as a natural extension of some of his most beloved characters, flashing a smile and allowing his eyes to twinkle in ways he hasn’t done in years. It’s a joke when he claims to have never ridden a horse before because we can all picture the Sundance Kid astride his steed in our minds.
This time, he takes on the role of Forrest Tucker, a lifelong criminal who has been incarcerated 18 times, beginning as a child, and has escaped from most of the prisons that have attempted to hold him (there’s an excellent montage of the escapes that includes some classic Redford film footage). The film opens with him nearing the end of his criminal career, when he’s settled into a comfortable routine as what might be described as a gentleman bank robber. Forrest robs banks with the help of two friends who will become known as the Over the Hill Gang (Danny Glover and Tom Waits). Forrest opens his jacket to reveal a gun and kind words for his victims, and the Over the Hill Gang is born. He tells one of the tellers, who is crying, that she is doing an excellent job. Because of this, he must rely on his charm as much as on his firepower to keep the team motivated. Lowery never even shows us the gun when Forrest opens his jacket; instead, he sticks to a face-and-shoulders shot of the character. Those blue eyes and that smile are the real weapons in this battle.
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In the final days of the Over the Hill Gang, two supporting characters provide a framework for the story. One such character is Jewel (Sissy Spacek), whom Forrest encounters when her car breaks down on the side of a busy highway. Forrest sneaks into her trunk for cover while the police officers chasing Tucker pass by. Forrest has taken a liking to Jewel and has even told her about his activities, but she does not believe him. The two frequently meet in a diner or on Jewel’s sprawling estate, and the result is pure cinematic magic every time. Lowery is well aware that there is something special about these scenes between Redford and Spacek that cannot be replicated with any other actors. He lets himself be carried away by the magic of the moment, realizing that he is there to capture something that is both timeless and at least partially beyond his control. I could sit and listen to the two of them talk and laugh for hours on end because they make something almost intangible appear so effortless.
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Second, there’s John Hunt (Casey Affleck), who becomes the lead cop in the effort to apprehend Forrest and bring him to justice. He’s the first person to notice that there’s even a crime spree going on at all. The Over the Hill Gang robs banks in a number of different states, and the proceeds are typically small. Hunt tracks them down and takes on the role of the Pacino character to Redford’s De Niro character in the analogy of “Old ‘Heat.” Affleck is fantastic as well, almost as impressed as Hunt is by Forrest’s tenacity, given that Hunt has recently turned forty himself and is fascinated by someone who doesn’t just want to “make a living,” but who wants to truly live his life. Tucker isn’t in it for the money, either. This is something he does because it makes him feel restless and he is good at it.
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It is Lowery and his team, particularly cinematographer Joe Anderson and composer Daniel Hart, who infuse “The Old Man and the Gun” with a strong sense of timelessness. While the film is not only set in a different time period (the true story takes place primarily in 1981), it also has the feel of having been made in a different time period as well. There are some significant differences between the film stock, music selections, and cinematic language used in this project compared to what we’re used to seeing in 2018, which contributes to its magical, timeless quality. The film is every bit as cheesy as it sounds, but it is one of those rare examples of a film for which the phrase “they don’t make ’em like that any more” was coined.
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This is a tale about a legend in his own mind, about someone who clearly desired his life to be told in stories on porches with beer in hand, and so the storyteller should embrace that aesthetic. Because of this, Lowery enhances the charming outlaw attitude of the entire film, resulting in an experience that is so light on its feet that some viewers may believe it simply floats away. At first glance, it appears to be the case. Without a doubt, this film will come to mind when you watch it. Perhaps a line of dialogue, or an image of Redford’s charm or Spacek’s laugh, or Affleck’s demeanor will stick out in your mind—just it’s one of those movies that keeps sneaking up on you in your mind’s eye. It, like Forrest himself, is adamant about not going away. The film is unforgettable, much like Redford himself.
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According to the original submission, this review was made at the Toronto International Film Festival on September 10, 2018.
For more personality quizzes check this: All The Money In The World Quiz.
