Film Review: Bobby Deerfield (1977)

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(source:tmdb.org)

When the film is obscure, the easiest way to explain such obscurity is in its cast and authors lacking or not yet achieving adequate fame. In those rare instances when the film sinks into obscurity despite the cast and authors being at the very peak of their respective careers, it could serve as a very telling hint about film’s overall quality. One of such examples is Bobby Deerfield, 1977 romantic drama directed by Sydney Pollack.

The plot is based on Heaven Has No Favourites, 1948 novel by famous writer Erich Maria Remarque. The protagonist, played by Al Pacino, is Robert “Bobby” Deerfield, American racing driver whose cold, calculated and professional approach on the track brought him fame and fortune, but, when applied outside track, made him unhappy and unable to connect with the people. He is also troubled with the prospect that it all might end abruptly, because on the track there are many drivers that lack his skills or luck. After witnessing one such terrible accident he goes to visit a survivor being treated in Swiss Alps sanatorium. There he meets Lillian Morrelli (played by Marthe Keller), beautiful woman whose extrovert character and spontaneity in behaviour represent his complete opposite. Despite those differences, Bobby begins romantic relationship with her and two of them travel around Italy. Lilian’s behaviour becomes more erratic and irrational, but Bobby is blissfully unaware that his lover is actually racing against time.

Al Pacino at the time of premiere enjoyed reputation of one of Hollywood top actors, following series of iconic roles in incredibly successful films that had brought rave critical reviews, excellent results at box office and prestigious awards. Director Sydney Pollack had also enjoyed excellent run with his previous films, including those belonging to genre of romantic tear-jerkers like The Way We Were. Swiss actress Marthe Keller has also enjoyed success, recently being awarded Golden Globe for her appearance in Marathon Man, another iconic New Hollywood film.

So, what went wrong? The answer might be found in one of two relatively good things that can be said of Bobby Deerfield. First one is Dave Grusin’s soundtrack which is at times pleasing to the eye, and the second one is cinematography by Henri Decaës which provides audience with many eye-pleasing images of picturesque French, Swiss and Italian location. Pollack, who would later describe Bobby Deerfield as “the most European film of his career”, was apparently so enamoured with those images that he forgot to pay attention to pacing, making this film overlong, many scenes repetitive and any flaw in Alvin Sargent’s script fatally enhanced. Characterisation is so bad that even Pacino - who, like a good Method actor, had actually bothered to learn driving for the sake of the role – can’t breathe life in the protagonist. Keller, on the other hand, comes out as annoying and she lacks chemistry with Pacino despite two of them actually being real life romantic couple on the set. Film is even more disappointing for the race driving fans who have the to opportunity to actually see that sport only in few relatively scenes. Bobby Deerfield might have been great fun for cast and crew on the set, but, like in many similar examples, those who see it in on the screen are going to have quite different experience.

RATING: 2/10 (-)

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