June 30th: THE CHASE (Arthur Penn, 1966)

An escaped convict returns to his small Texas hometown where local tensions threaten to erupt.

The Chase was originally produced for the stage and then turned into a novel, both by playwright/screenwriter Horton Foote (To Kill A Mockingbird). Independent producer Sam Spiegel (On The Waterfront, Lawrence of Arabia) bought the film rights, believing it to be a hot property dramatically as well as something pertinent to current social issues, though it took him nearly 10 years before cameras rolled.

Political activist Lillian Hellman, successful writing for the theatre and film, was asked to do the adaptation, though Spiegel would wind up doing many rewrites himself behind her back. On Hellman's recommendation, Spiegel hired Arthur Penn, a young veteran director with television, stage, and film work to his credit.

Considered too old to play the part he was originally intended for, Marlon Brando was cast as the laconic sheriff, yet felt his character was too passive. He's joined by an all-star roster of veterans and rising talents including Jane Fonda, Robert Redford, Robert Duvall, Angie Dickinson, E.G. Marshall, Miriam Hopkins, and British actor James Fox. Brando's sister Jocelyn also has a small role.

Behind the camera, Spiegel brought along composer John Barry, known mainly for his James Bond scores. The cinematography is by Academy Award-winner Joseph LaShelle (Laura, The Apartment). The production did not film on location in Texas, but rather solely in the Los Angeles area, at Paramount and Warner Bros studios, as well as the Fox ranch in Malibu Creek State Park.

Thematically, the story has enough for several films: in addition to peeking behind the curtain at small-town decadence and hypocrisy, it takes on racism, corruption, class divisions, mob justice, and changing sexual mores. Coming after the national nightmare of the JFK assassination but before Watergate and the explosive cultural events of the late 60s, what may have seemed overstuffed in 1965 now looks prescient about what would soon be happening across the country.

Spiegel's meddling led to a troubled production, causing rifts between Penn and LaShelle, Penn and Hellman, and Brando and everyone else. In addition to his rewrites, he took the film away from Penn and had it edited to his own wishes. Reviews were mixed and it did poorly at the box office. It is now regarded more fondly due to the strength of the direction and performances.

Running time is 2 hrs, 15 min.