"Little Fauss and Big Halsy" qualifies as an allegorical work of sheer genius. "Ipcress File" director Sidney J. Furie and "All-American Boy" scenarist George Eastman appropriate the animal fable about the tortoise and the hare. Cocksure, extroverted, ladies man Halsy Knox (Robert Redford of "The Sting") is the hare and shy, bespectacled, introvert Little Fauss (Michael J. Pollard of "Bonnie & Clyde") is the tortoise. Together, they make a memorable pair of opposites who hit the road on the motorcycle dirt bike circuit. Ironically, neither Redford nor Pollard liked each other. "Little Fauss and Big Halsy" essentially is a story about losers, but each of them is a genuine character. The scenic, sun-blasted, settings are atmospheric and the cast convincing, especially Lauren Hutton and her Lady Godiva act. Little and Halsy hate each other, and they refuse to believe that they need each other. Noah Beery Jr. is splendid as Pollard's father who has nothing but contempt for Halsy.
The Johnny Cash songs are fantastic as is Carl Perkins' jukebox tune about a woman used and abused. Recently, I located a full-frame bootleg copy of this public domain classic. The scene near the beginning when Halsy nonchalantly strolls obliviously across the race track as scores of bikers narrowly avoid hitting him is terrific. This movie is so neat and symbolic that it serves as a commentary on mankind. Redford delivers a spectacular performance and looks a Cosmo centerfold boy. He spends half of his time stripped to the waist with sunglasses and looking virile. This is the kind of movie that looks tailored made for Burt Reynolds, except the Eastman script teems with interesting characters rather that broad comedy. "Little Fauss and Big Halsy" is probably Redford's most stylist performance since "Butch Cassidty."
The Johnny Cash songs are fantastic as is Carl Perkins' jukebox tune about a woman used and abused. Recently, I located a full-frame bootleg copy of this public domain classic. The scene near the beginning when Halsy nonchalantly strolls obliviously across the race track as scores of bikers narrowly avoid hitting him is terrific. This movie is so neat and symbolic that it serves as a commentary on mankind. Redford delivers a spectacular performance and looks a Cosmo centerfold boy. He spends half of his time stripped to the waist with sunglasses and looking virile. This is the kind of movie that looks tailored made for Burt Reynolds, except the Eastman script teems with interesting characters rather that broad comedy. "Little Fauss and Big Halsy" is probably Redford's most stylist performance since "Butch Cassidty."