I'll be interested to see how this movie continues to exist in my imagination, specifically its many stunningly surreal images. There is something haunting in the film's pair of unsolved and unsolvable mysteries - who the hell is George Cordova anyway; and what kind of a movie would the real "Shirkers" have been?
I found myself occasionally wondering if the movie would have benefited from a more objective perspective on the material. Some of the contemporary interviews felt either overly…
No vanity project this self-conscious should be this pleasurable. The fact that Redford allows this to be about not just his farewell to screen life and his own work’s pleasures, but about all the ways we humans find pleasure: in our children, our spouses, our work, our friends and coworkers, our animals, our homes, our stories.
“Do you ever think about the fact that you live across the street from a graveyard?”
“No. Not really.”
Rave on, Bob. Rave on.
Also Sissy Spacek will you marry me.
I've taken all of your criticisms into account and have determined that you're all wrong.
