British Comedy

Local Hero

Local Hero streaming: where to watch movie online?

Following the success of his low-budget films That Sinking Feeling and Gregory’s Girl, Scottish film maker Bill Forsyth had the adjective “quirky” hung on him by critics, and it stuck. But there’s a nicer way to describe this talented writer-director’s output: Sweet, original and offbeat. For me, no film in Forsyth’s career better illustrates those qualities than 1983’s Local Hero.

On its face, the plot is simple. Knox Petroleum needs to buy an entire Scottish seaside town in order to further its oil empire, so its all powerful and extremely eccentric President Felix Happer (Burt Lancaster) dispatches a guy named MacIntyre (Peter Riegert) to close the sale, because, well, with a name like that he must understands Scottish people. In a more clich├ęd film, the quietly noble and down-to-earth townspeople would resist the heartless tyrants of capitalism. I will not spoil the film for you but rest assured that Forsyth is far too creative to follow that tired line of plot, either for MacIntyre and Happer or for the people of the village.

Under Forsyth’s direction, the cast sparkles throughout. Burt Lancaster, like Sean Connery and Clint Eastwood, was wise enough in late life to transition from swashbuckling roles to more age-appropriate fare. His turn as an isolated, slightly daft, stargazing corporate titan is hilarious, particularly his scenes with one of the most abusive psychotherapists in film history.

Criterion Review: Get Ready to Cheer for LOCAL HERO | by Brendan ...

Peter Riegert is very good at playing people who are present in some respects but completely absent in others. Outwardly, his MacIntyre is a financially successful oil acquisitions man. On the inside, he is a lonely person with a bitter break-up behind him and, the film hints, more romantic disappointments to come. His last name is Scottish but even that isn’t real; he no more belongs in Scotland than he does anywhere else. What pulls on his emotions the most about the Scottish town is the wildly satisfying (in every respect) marriage of his hosts at the local B&B. It’s the life he longs for but simply doesn’t know how to create.

Peter Capaldi as Danny Oldsen and Jenny Seagrove as Marina in ...

The charming Jenny Seagrove, whose success in UK film and television unfortunately never translated across the pond, hits the right notes as a scientist with whom Peter Capaldi’s character falls in love (Capaldi, later so good as a thoroughgoing bastard on The Thick of It and In the Loop, is completely different here in the film that first brought him notice). Kudos also to the set designers for Felix Happer’s bizarre and palatial office suite, and to Mark Knopfler of Dire Straits fame for an understated and memorable score.

Like most of Forsyth’s films, there are a few big laughs and many more small ones. Wistful in some ways, joyful in others, this quiet gem of a movie will bring a smile to your face.

Drama Mystery/Noir

I Walk Alone

4 Movies Starring Burt Lancaster and Kirk Douglas

Burt Lancaster and Kirk Douglas had remarkably parallel careers. They both made their first film in 1946, quickly became huge international stars, and maintained their cinematic dominance for decades. Both were handsome, athletic men who were also intelligent enough to play parts with nuance and depth. Both ultimately broke away from the studio system to become independent producers. And last but not least, they made seven films together, the first of which is the 1948 crime melodrama I Walk Alone.

The story commences with Frankie Madison (Lancaster) getting out of the joint after a 14 year stretch. He was arrested for bootlegging with Noll “Dink” Taylor (Douglas), but Taylor eluded the cops, never did any hard time and indeed never even bothered to visit Frankie in prison. Frankie’s old friend Dave (Wendell Corey, in a quietly effective performance), who has stayed true to him, is under Dink’s thumb as the bookkeeper of his swanky nightclub. Frankie feels entitled to half of the club, but Dink isn’t feeling generous. Dink sends his moll, a singer in the club (Lizabeth Scott) to sweet-talk Frankie; he’s lost interest in her anyway because he wants to marry a blue blood (a sultry and perfectly bitchy Kristine Miller) who will secure his place among the posh people.

The emotional power of the film comes from the conflict between Frankie and Dink. Lancaster’s Frankie is a pacing, rough cut ex-con who would like nothing better than to slug it out. Douglas’ Dink is all suaveness and reassurance, an oleaginous modern businessman who claims to have left the world of guns and fists. This contrast produces the best scene in the movie, in which Lancaster shows up with some thugs to take over the club by force, and Douglas humiliates him by explaining that because of multiple holding companies and escrow agreements, there is nothing to take over (without a vote of the board and amendment of the by laws of course). As Dink himself says, Frankie is a dinosaur, unable to cope with the realities of the modern world. But Dink still fears him enough to commit a terrible crime and frame his former pal as the culprit.

There are some flaws in this film. It was Byron Haskin’s first directorial outing, and he doesn’t seem in full control of the material. He got much better later, for example in another of my recommendations, Treasure Island. This isn’t Lizabeth Scott’s best work either. She seems one-note off in I Walk Alone, for a reason I cannot guess (Bad direction from Haskin, maybe). Charles Schnee was a great script writer (The Bad and the Beautiful, starring Kirk Douglas, being one of his gems). His script here includes some pungent dialogue but the story drags at times, particularly in the second half. But no matter what slow spots intrude on the viewer’s enjoyment, the film always roars back to life as soon as the two lions of post-war cinema are tussling on the screen again.

As a note on the actors, this was the fourth film for both men and they apparently spent little time with each other off-screen. Their friendship/rivalry was to blossom much later during the making of Gunfight at the O.K. Corral. About 10 years ago, I had the good fortune to hear from Douglas’ own lips that the rivalry was largely a studio and trade press invention, when in reality they had always been good friends. But who knows or cares? Whatever their personal relationship was like off screen, they were a terrific duo onscreen.