The Pursuit of Happiness (1971)

          The Pursuit of Happiness is yet another middling drama about angst-ridden ’70s youth culture that ends up feeling less like a sensitive tribute to a thoughtful generation and more like a condescending satire of mixed-up kids. Gangly Michael Sarrazin plays William Popper, a New York City college student from a privileged family. He lives with hippie activist Jane Kauffman (Barbara Hershey), and he uncomfortably straddles her world of ideals and his family’s world of Establishment values. Driving in the rain one night, William accidentally hits and kills an old woman who steps into traffic. He’s arrested. William’s sensitive father, artist John Popper (Arthur Hill), arrives on the scene to help William through his legal troubles, but the family’s stern lawyer, Daniel Lawrence (E.G. Marshall), drips contempt for William’s screw-the-man attitude.

          Ignoring Daniel’s advice to keep his mouth shut, William makes a scene during his first hearing—he gives a naïve speech about how the legal system isn’t interested in empirical truth—and gets thrown into prison. All of this confirms William’s impression that society is broken; as William whines at one point, “There’s a nervous breakdown happening in this country, and I don’t want to be part of it if I don’t have to.” Also thrown into the mix is William’s loving but racist grandmother (Ruth White), the personification of small-minded Old Money.

          Based on a book by Thomas Rogers and directed by Robert Mulligan (To Kill a Mockingbird), this picture means well but undercuts itself. William isn’t truly an idealist; rather, he’s a slacker uninterested in committing to anything. Thus, when William breaks out of prison and tries to flee the country, his actions don’t seem charged with us-vs.-them significance. Sure, the filmmakers communicate the central idea that William resents the game he’s being asked to play (feign adherence to Establishment values, and you can get away with anything), but William is so passive that he’s the least interesting person who could have taken this journey. Sarrazin’s perfunctory performance exacerbates matters, as does the blunt screenplay. The movie also leaves several promising storylines unexplored, so characters including a crusty detective (Ralph Waite), an imprisoned politician (David Doyle), and a mysterious pilot (William Devane) pass through the story too quickly. Each of them, alas, is more interesting than the protagonist.

The Pursuit of Happiness: FUNKY

Harry in Your Pocket (1973)

          Nimble ensemble acting and sprightly direction give the character-driven crime picture Harry in Your Pocket humanity and vitality. Exploring the dynamics dividing and uniting a quartet of thieves who roam the U.S. and Canada, picking pockets and living in high style wherever they travel, Harry in Your Pocket is the only movie that Mission: Impossiblecreator Bruce Geller ever directed, and it’s a shame he never built upon the film’s promise. Particularly when he’s orchestrating tricky scenes, Geller displays great confidence with camerawork, performance, and storytelling. As a result, he creates a cohesive vibe in which every major character presents a surface of self-serving pragmatism in order to hide that greatest of weaknesses in criminal enterprise—compassion.

          Michael Sarrazin, his gangly masculinity as oddly appealing as ever, plays Ray, a small-time pickpocket plying his trade in a Seattle train station. His would-be victim, Sandy (Trish Van Devere), realizes he lifted her watch and then confronts him, but in so doing leaves her purse and suitcase unattended. When those items are stolen (by someone else), Ray feels responsible and offers to pay for her passage out of Seattle—just as soon as he fences loot for the necessary cash. So begins an offbeat romance, with Ray discovering vulnerability through his affection for Sandy and Sandy discovering a rebellious streak through her affection for Ray.

          Eventually, these two learn that a veteran thief named Harry (James Coburn) is looking for assistants, so they meet with Harry and his older associate, Casey (Walter Pidgeon). Harry’s a cocky crook prone to dictatorial declarations, but Ray accepts the humiliating work circumstances because he’s eager to learn from a master. Thus, Ray and Sandy become “stalls” responsible for distracting victims while Harry—the crew’s “cannon”—makes the “dip” (theft) and immediately deposits the “poke” (loot) into Casey’s hands. Because, you see, “Harry doesn’t hold,” and never keeping stolen goods in his hands for more than a few seconds explains why he’s never been arrested.

          Revealing the mechanics of a covert crew plays to Geller’s strengths, so he accentuates the effervescent rhythms of the movie’s script, which was written Ronald Austin and James Buchanan. Plus, the storyline ends up having a smidgen of emotional heft, because while Ray and Sandy grow into their new roles as first-class robbers, Harry’s icy professionalism is compromised by the development of personal connections. The pefectly cast actors dramatize these nuances well, because Coburn exudes macho standoffishness while Pidgeon radiates elegant likeability, with Sarrazin representing hotheaded youth and Van Devere adding grown-up sexiness. One could quibble that Harry in Your Pocket lacks the climactic payoff of a big heist sequence—the denouement is as understated as the rest of the picture—but the movie has abundant charms nonetheless, however humble they may be. (Available as part of the MGM Limited Collection on Amazon.com)

Harry in Your Pocket: GROOVY