To Own That Amount Of Charisma.
Lowery’s pastel and sunny heist manages to see off the finest talent of Hollywood with a gleeful grin on the face. And the experience is thoroughly persistent of such quality, never for a scene does that smile wears off from your face, it is an overwhelming response to the pressure the genre offers, it just is simply soothing. Surprisingly, this comes as a bit of a shock, Lowery has never been in these funny shoes, and yet he has managed to win this marathon. The humor seems required at a certain point, it isn’t forced upon for distraction.
In fact none of the sequence seems like they are stretching it, let alone be a gag, ticking for around ninety minutes, Lowery has captured the farewell bid with a sweetening aroma of laughter. Not only does the storytelling is simple and familiar but so are its stereotypical characters, but all of this when weaved out with excellent execution skills, the film soars above expectations, the perfectly balanced style and substance case shows the superiority of clean finesse over originality.
With your typical “success and fame” montage that most of the robbery is depicted as, wisely Lowery never digs in the mechanics or the methods of the live action. If anything, his guns are directed towards the preparation that goes behind the stage and the aftermath drama that one goes through, no matter how much professional. Redford as the ultimate expert of an “in and out” mission for a handful of greens, has the apt smoothness and comfort in his body language to make it look like easy.
Plastering a mysterious smile on his face for the most part of the film, Redford is expressive at his most vulnerable and his most vibrant day. Driving out a professional and personal equation with his co-stars, he still has the nakedness of the direction this film drives towards. Affleck as the stereotypical cop that connects with Redford in a spiritual tone, manages to keep the chase thrilling with his mediocre yet satisfying life. Waits and Glover as the partners in crime sticks to their job of supporting Redford decently. But among all these characters, Spacek’s mellow and vanilla character emerges as the best outcome possible from this crime drama.
Her equation and conversations with Redford is the real deal, the core strength of the film that Lowery doesn’t compromise for, these sequences are floating in a different bubble itself, they speak different genre, they ooze humility. No matter how much ethically questionable Redford’s deeds are, you do find yourself rooting for him as you usually do for the underdog in such features, but in here there is no justifying reason to it and yet he somehow asks to be dealt liberally, fair but with not-so-tight ropes. Similar to the Heat, this cat and mouse chase halts for a brief period, where the opposite sides of the coin meet and share a laughter with clenched jaws. The Old Man & The Gun is a memorable adieu to that Sundance Kid.