American Cinematographer - September 2000 - 26

sophisticated to connect with general

unceremonious end of the Old Frontier's

audiences. Some of the trailers, press kit
materials and Internet spots - intended

homespun ways. In his commentary, Hall
suggests the film is more relevant now
than ever, "because it's about people's

to induce viewers to

payto see the movie
lampoon consumer culture even more
impressively than the film itself. In the

-

of this section, look for a hidden

menu

feature by

hitting the downward direc¬
of your remote control: the
viewer is given a tour of a highly sarcas¬
tic Fight Club collectible catalogue,
tion

arrow

which includes such items

as a

"2000

backpack," a "Fight Club adhesive
bandage" and $40 T-shirts bearing self¬
consciously hip slogans.
retro

Butch

Cassidy

and the Sundance Kid

2.35:1, Dolby Digital 2.0 Mono
20th
"It
and even

Century Fox, $29.98

was a

helluva lot of hard work

fun, and if the audiences
it, I think I'll go out of my

more

don't take to

f***ingmind."
-

X2 RANGE EXTENDERS

director

George Roy Hill

Fortunately, Hill's sanity was left
intact, for upon its release in 1969, Butch
Cassidy overcame a snooty critical reac¬
tion to make a profound connection with
audiences. Despite a few slightly dated
and corny moments, this is one of those
entertainments that leaves the

warm

viewer

faintly nostalgic about an era
Hollywood seemed to have a lot
more heart. As the blueprint for subse¬
quent buddy action flicks, Butch Cassidy

when

still towers above its imitators because
no

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sharp screenwriter (William Gold¬
an exacting director (Hill) and a gofor-broke cinematographer (Oscar winner
Conrad Hall, ASC), and you have a seam¬
less recipe for great, old-fashioned
popcorn entertainment.
Of course, as this DVD suggests,
Butch

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ominous, mirage-like "super posse" that

Cassidy isn't all popcorn. The

pursues bankrobbing duo
Butch and Sundance across the Old West

relentlessly
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timeless

candor and the occasional, well-timed

expletive. He also offers one of the most
succinct explanations for how to balance
the alternately comedic and dramatic
tone of a film like Butch Cassidy: "You
don't play funny or play sad. You play
real." Kudos to Fox for the documentary's
chapter-selection feature, a luxury
usually reserved for the film only.
Also included is a commentary by
Hill, Hall, Crawford and song lyricist Hal
David that is packed with great set
stories. Hall, who was dating Ross
during filming, chuckles as he recalls

her to operate a camera during an action
scene. Even more amusing is a drawn-

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basic,

bigger than all of us."
Fox has done right by this classic,
presenting Hall's gleaming images with
great sharpness, lively colors and strong
blacks; for proof, study the wry, sexy
introduction of the relationship between
Etta Place (Katharine Ross) and
Sundance,
which
is
tastefully
photographed in deep shadow. It's a
particular treat to see the film in its orig¬
inal 2.35:1 aspect ratio, preserving all of
Hall's intricate, inventive compositions.
The supplements include a fine
documentary on the making of the film,
shot by associate producer Robert Craw¬
ford during the production. As the docu¬
mentary's narrator, the straight-shootin'
Hill is a real crack-up, lacing his insights
into the director's process with brutal

then-obscure Robert Redford. Toss

a

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a

human condition

that Hill banished the actress from the

onscreen

man),

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duo has ever equaled
chemistry of Paul Newman

other

the effortless
and

jobs in jeopardy [due to] technological

is meant to represent a larger theme: the
dawning of the 20th century and the

set after the

cinematographer allowed

out story by Crawford describing the
testosterone-fueled
gamesmanship

between Redford and Hill that somehow
a knock-down, drag-out
fencing match between the soon-to-be
matinee idol and ex-college fencer
Crawford, who barely edged out
Redford. Rounding out the special
features are a breezy set of 1994 inter¬
views with Newman, Redford, Ross,
Goldman and composer Burt Bacharach.

culminated in
American Cinematographer - September 2000

Table of Contents for the Digital Edition of American Cinematographer - September 2000
