Customer Reviews

Scarecrow [VHS]

5 star:		(21)
4 star:		(6)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

"Scarecrow" is another example as to why the seventies were a great decade for filmmaking. Studios were willing to take a chance on dicey material and stars would eschew their vanity for the sake of art. For a while I thought this film was adrift like it's two main characters Max(Gene Hackman) and Lion (Al Pacino). It's around the midway point of this film that these characters start shedding layers of their respective psyches like the copious clothes that Max wears. The film turns poignant and ultimately tragic and a little hopeful. For me to reveal the details of the plot would be a disservice to any potential viewers so trust me that you will be rewarded. Needless to say both Hackman and Pacino are superb here. The film is beautifully photographed by master cinematographer Vilmos Zsigmond. Credit director Jerry Schatzberg for taking us on an odyssey with two fascinating, albeit lost, souls.

The gift of a "last match" sparks a friendship between two drifters. Max (Gene Hackman), an ex-con, is a tough, cynical, angry man ("I don't love anybody, I don't trust anybody, and I can tear the ass out of an elephant"). Lionel (Al Pacino), recently back from sea, moves at a different tempo. His theory is that laughter is the key (the farmer's scarecrow makes the crows laugh, so they leave him alone out of appreciation).

Lionel's generosity with the match brings the two diverse characters together, and soon Max reveals his plan to open a car wash in Pittsburgh, and invites "Lion" to "go in bidness" with him. So, they're off to Pennsylvania, with two stops along the way -- a visit to Max's sister in Denver, and then up to Detroit for a confrontation between Lionel and the pregnant girl he abandoned.

Their contradictory personalities act as a magnet that pulls each towards a middle ground, as Max begins to soften in the warmth of his newfound friendship, and events occur that cause Lionel to question his "scarecrow" theory.

Hackman creates an unforgettable character in Max. I've seen most of his work, which obviously includes the award-winning performance in "The French Connection", and this is his best. I think that there is a lot of Gene Hackman infused into "Max", I see pieces of this character in all of his other roles. That's not to slight Al Pacino, who does a fine job as the diminutive Lionel, moving towards a critical and uncertain reunion.

This film grows on you, like a friendship. It has been largely ignored, and deserves a better fate.

This movie is somewhat experimental, yes, but if you like Hackman or Pacino, you will go for this film because it rides on the strength of their collective talents. It's sort of like Of Mice and Men meets Waiting for Godot. Can you imagine two huge movie stars (Hackman and Pacino both in their absolute prime) playing two drifters in a low-budget film like this today? These are great, uncharacteristic performances by both men. In its visual style (lots of long takes and jump cuts) and story arc (or lack thereof) you can see why this film would appeal so much to French audiences (it won the Palme d'Or at Cannes). Therefore, if you detest French cinema, you probably won't like this film much. If you enjoy great acting, though, you will love Scarecrow.

This is my favorite Gene Hackman performance, and it's definitely the most offbeat work Pacino has ever done. Together, they're enormously funny and touching, and I dare you not to be moved by the last 15 minutes. A hard movie to shake, but why would anyone want to?

This is without a doubt a lost gem that never found an audience like the description reads. This little seen movie was one of the best acting vehicles for its stars. Gene Hackman and Al Pacino deliver great and heartfelt performances as two drifters who are seen as losers and they themselves especially Lion, Pacino's character thinks of himself as one of them. This film reminded me of John Steinbeck's classic novel "Of Mice and Men" who was brought to the screen in 1994 with Gary Sinise and John Malkovich in the title roles. Pacino is Lenny in my eyes as he has the same innocent and childlike behavior that Lenny has in the film and story. Hackman is George, the strong of the two who is less of a dreamer and more practical than Pacino's character. The two of them although at odds with each other during most of the course of the movie did not get along when they were filming this classic film. They argued and disagreed a lot on the set from what I have it read... however you never saw a bit of animosity between the two of them as their superb acting and professionalism shone through out the film. If you have never seen this movie... this would be a good opportunity to purchase this film and see not only a great, classic movie of the 1970's but also the highlight for me anyway... is two see two masters of the acting craft battle it out in front of your eyes with their amazing gift and talent. SCARECROW,is a winner and you won't be disappointed to add this classic movie to your collection. Special thanks go to the company that decided to finally release this great film on DVD it was about time.

This and Save The Tiger are probably the most under-appreciated films of the seventies decade. They both need a DVD release. It is outragious and infuriating to know that such dreck as Gigli and WING COMMANDER! maintain DVD status, but this film remains unheard of and forgotten by the masses.
Gene Hackman admitted on Larry King Live that this is his favorite piece of work. What does that say about the film? Yes, better than The Conversation, The French Connection, Unforgiven, and yes, even better than Bonnie and Clyde.

GET YOUR CRAP TOGETHER WARNER BROTHERS AND AT THE VERY LEAST, THROW THE WIDESCREEN VERSION ON DVD. I'll be happy just watching it without a cleanup or anything.

I feel fortunate to have seen this film at a young age; it was my first exposure to film as art and it left a lasting impression. I've often thought back to my first viewing of Scarecrow and always looked for it whenever I entered a video store for the first time. I couldn't believe that it hadn't been released on VHS. I recently saw Larry King ask Gene Hackman what he felt was his best or favorite work. Hackman started to duck the question but finally indicated Scarecrow. Pacino could say the same. Scarecrow is a great story, is wonderfully directed, and features what I believe to be the two best performances from two of our finest screen actors. A must-see for film buffs and anybody who loves a great movie.

This is a very good movie. I can't help but wonder why it has basically been forgoten over time. Scarecrow stars Al Pacino and Gene Hackman very early in their highly successful careers. They play two drifters who meet and decide to travel around with each other for a while before opening a carwash together in Pittsburgh. The film is totally character driven. Although both Pacino and Hackman's characters are loners, they have very different personalities. Eventually they come to depend on each other. The chemistry between Pacino and Hackman is magnetic. The situations they find themselves keep the story ingaging and moving. This is a well made film with two of the finest actors in the business. It is a must see for Pacino and Hackman fans and all together an excellent film.

An unforgettable tale of two down on their luck drifters, "Scarecrow" just might be the best film no one knows about from the 70s. Pacino and Hackman completely inhabit their roles with a grubby naturalness that is rare in screen acting.

Warner Bros.: put this this classic on DVD! It is most likely your most hidden treasure.

Having read a decent amount of opinions about the film Scarecrow (1973), I've noticed quite a few differing thoughts with regards to how specific visuals and elements were interpreted, but the one aspect that many seem to agree upon is this is a vastly underrated feature, one that might have gotten lost in the shuffle specifically because the two main actors, Gene Hackman and Al Pacino had both just recently (at the time) appeared in landmark films The French Connection (1971) and The Godfather (1972), respectively. Directed by Jerry Schatzberg (The Panic in Needle Park, Honeysuckle Rose), the film includes performances by Dorothy Tristan (Klute, Rollercoaster), Ann Wedgeworth (Bang the Drum Slowly, My Science Project), Richard Lynch (The Seven-Ups, The Sword and the Sorcerer), Penelope Allen (Dog Day Afternoon), and Eileen Brennan (The Sting, Murder by Death), as a nasty, drunken floozy with a big mouth.

Hackman and Pacino play the characters Max Millan and Francis Lionel 'Lion' Delbuchi, respectively, who are two drifters that hook up with each other in the backwoods of California, both headed east as Max, who was recently released from prison, has plans on opening a carwash in Pittsburgh while Francis, who completed a stint at sea, is returning home to Detroit to meet his child for the first time and make some sort of amends to his wife (apparently after his wife got pregnant, Francis got scared, ran off, and joined up with the merchant marines). Anyway, the two couldn't be more different...Max is a gruff, belligerent, short-tempered, mean-spirited, uptight cuss who likes to crack heads, take naps, and doesn't do anything without a plan while Francis is a likeable go with the flow sort, one who enjoys the spotlight if only to make people laugh (he believes you don't have to hit people if you can make them laugh). As I said, the two hook up on the road through a chance meeting, and Max immediately decides to make Francis a partner in his upcoming business venture, that being opening a carwash in Pittsburgh. Seems Max, who's been in the joint for the last six years, has been saving every penny and depositing it in a bank, fastidiously planning every aspect of the operation, pouring over every detail to the point of committing them to memory. As the pair hitch rides, jump trains, and hoof it by foot eastward, they have their ups and downs, eventually making their way to Denver to stop off and see Max's sister Coley (Tristan). Times are good, but quickly sour as Max gets both himself and Francis chucked in the can for a thirty-day stint after a barroom brawl (Max ends up blaming Francis for convincing him to deviate from his `plans', and subsequently the pair are now on the `outs'). Francis makes friends quickly with a trustee (played by Lynch), earning himself some relatively easy work assignments (along with some unwanted attentions), while Max's standoffishness earns him a trip to Pigville (the county pig farm), shoveling manure. Eventually the men reconnect, are released from prison, and back on the road, headed for Detroit for a reunion of sorts with Francis' estranged wife and child...

If you're looking for a straightforward type of story, one that has a distinctive beginning, middle, and an end, then you'd best pass this film up. This is purely a character driven drama with comedic underpinnings, one that, like life itself, tends to get a little messy. The real treat here is watching these two fine actors play off each other, something director Schatzberg encourages given the length of some of the scenes and the unrestrictive atmosphere in general throughout the feature. I'll admit, initially I was a little wary about the pairing of Hackman and Pacino in this sort of `buddy buddy' road picture, but the two completely immerse themselves in their roles, creating a pair of completely believable and identifiable characters. I thought Hackman did particularly well presenting an overly retentive, rigid, suspicious, angry at the world individual obsessed with sticking to his plan, his confidence stemming from the very fact that it was so well thought out (by himself) it couldn't possible fail. There's an exchange in the film that really helps put his character in perspective, as Francis relates how once in Catholic school he got the palm of his hand smacked by a nun with a ruler for clowning around.

Max: How come you didn't pound that old lady in the mouth?
Francis: What old lady?
Max: The one that hit you in the palm with the stick.
Francis: She was a nun!

I thought Pacino also did very well as in his role as the easy going, trusting, sociable type that's everyone's friend, a bit naive at times, always handy with a joke or a pratfall, whose main goal in life seems to try and resolve a past indiscretion that seems to have haunted him for awhile, that of leaving his wife in the lurch (he did send her whatever money he could over the years, but that was more or less out of an effort of support, and not one of amends). At some point he realized the only way to excise the demon that plagues him is to confront it, which is why he's headed to Detroit. The characters are obviously from different ends of the spectrum, but, in their differences, they create sort of a `ying and yang', as Max is the driven man with the plan, along with being the streetwise protector of the pair, his edge slightly offset by Francis' ability to enjoy each moment in the here and now (Max allows Francis quite a bit of leeway in terms of Francis poking fun at Max only because he sees Francis as sort of a child, one whose only desire is to please). My favorite sequence in the film comes while the pair is in prison, after their falling out. Despite the fact that they're now at odds, the bond is still there as Max dishes out the retribution after Francis discovers his new friends like him more than for his comedic repartee. As I said, there's not much of a story here, but I found the characters, relationships, and performances fascinating enough to keep me entertained throughout the nearly two hour running time. The ending is sort of downbeat, and offers very little in the way of resolution, but if you can get past this, you might want to check this movie out. It was definitely worth my time.

The picture quality on this DVD release is decent, presented in widescreen (2.40:1), enhanced for 16X9 TVs, and the Dolby Digital mono audio comes through reasonably well (it did seem a little soft at times). As far as extras, there are English, Spanish, and French subtitles, an original theatrical trailer, and a vintage featurette for the film entitled "On the Road" (3:48).

Cookieman108

By the way, another scene worth seeing this film for is when Max strips off his clothes in order to go to bed...he's wearing like ten shirts, and watching him remove them is like watching the clowns come out of the little car at the circus. For those interested, the cinematographer on the film was Vilmos Zsigmond, who also did such features as Deliverance, Close Encounters of the Third Kind, and The Deer Hunter.