Pocket Money is a good film, but I wonder if it would be with any other stars, or even simply one star as staying true to the book the movie's based on. The script is by Terrence Malick (yes that Malick, it was his first official Hollywood gig after all so he had to pay at least one due), and it offers some keen one-liners, some that are very subdued in the sense of humor, and an opportunity for an actor to play it how he will. It's also, akin to what's weaker about Malick, a little flimsy and aimless on plot and more about atmosphere of the situation. If Malick were directing it it might resemble one of those mythic modern westerns. Under director Stuart Rosenberg of Cool Hand Luke, who isn't an eccentric genius-artist filmmaker like Malick but a sturdy craftsman, it's a lot more simplistic, and ultimately isn't about much except two s***-kickers looking to buy some cows and get paid the money deserved.
But as it stands, Paul Newman and Lee Marvin, even without the greatest material, can act the pants off of it and Newman somehow makes his character amiable and cool when not seeming to have it all upstairs except for livin' in the moment kind of thinking. Marvin fleshes his character out a bit more than Newman perhaps because, frankly, he's more of the comic relief however in slight and clever ways (watch as he is washing up and almost uses a pigeon to dry his face, or his rambling dialog when he and Newman are sitting atop the train). By the time it ends we might not feel like it can go much else, and it ends on a somewhat (though surprisingly good) ambiguous ending. But there's also the feeling that a lot has gone on, a lot of wheeling and dealing and almost nearing insight into the condition of greed and double-crossing in men. Almost. That and the sweet Alex North score that combines many forms of music.
But as it stands, Paul Newman and Lee Marvin, even without the greatest material, can act the pants off of it and Newman somehow makes his character amiable and cool when not seeming to have it all upstairs except for livin' in the moment kind of thinking. Marvin fleshes his character out a bit more than Newman perhaps because, frankly, he's more of the comic relief however in slight and clever ways (watch as he is washing up and almost uses a pigeon to dry his face, or his rambling dialog when he and Newman are sitting atop the train). By the time it ends we might not feel like it can go much else, and it ends on a somewhat (though surprisingly good) ambiguous ending. But there's also the feeling that a lot has gone on, a lot of wheeling and dealing and almost nearing insight into the condition of greed and double-crossing in men. Almost. That and the sweet Alex North score that combines many forms of music.