Bush Cassidy & the Sundance Cock

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Together, they've led the Hole-in-the-Wall Gang through so many bank and train robberies that it was just a matter of time before the law came riding hard after them. The gang splits, and for a while Butch and Sundance elude the tireless posse and hole up with Sundance's girl, Etta Katharine Ross , to plan their next move. Butch decides the best option is for all three of them to head for Bolivia. They'll even go straight if they have to. Traveling with a woman will be good cover -- or so they think, until the posse reappears in South America, eager for blood.

It's impossible to watch Butch Cassidy and the Sundance Kid and not laugh with them, sympathize with them, even want to see them shoot their way out of trouble. What sort of example, parents might wonder, does that set for their children?


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Before answering, consider the talents of director George Roy Hill who later reunited the two stars in The Sting and screenwriter William Goldman, because they do something remarkable here. They construct a sublimely entertaining movie around the plight of two outlaws fleeing justice, but amidst the laughs and the clever exchanges lingers the scent of impending misfortune, an ever-present reminder that these men are criminals. There's no outright moralizing -- Goldman is far too shrewd a writer for that -- but the message comes through, amidst a hail of gunfire, that crime is only glamorous up to a point.

Families can talk about the charisma of the outlaws. What sort of example does that set? Is it ever okay to break the law if you can get away with it? What do you think of the crimes Butch and Sundance committed?

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In the late s, there was a romance and identification with outlaws from the past in some movies. Why do you think, at a time when many young people were marching for civil rights, against the Vietnam War, and against what they saw as the injustices of the American system, some would identify and even see the good in authority-fighting anti-heroes like Bonnie and Clyde or Butch Cassidy and the Sundance Kid? In addition to being a Western movie, this could also be seen as the template for the "buddy movies" that were released in the decades to come.

The makers of Thelma and Louise , for instance, wanted to create a contemporary and female version of Butch Cassidy and the Sundance Kid. What are some other examples of buddy movies, and what do you think is their appeal?

Butch Cassidy and the Sundance Kid ()

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Parents' Ultimate Guide to Articles Help! Support our work! Want personalized picks that fit your family? Set preferences to see our top age-appropriate picks for your kids. Butch Cassidy and the Sundance Kid. That's kind of your soul working. But the other part is the craft, and part of that is not making it noticeable. Redford, who turns 61 next Wednesday, did not set out to be an actor when he was growing up in Santa Monica, California.

He went to the University of Colorado on a baseball scholarship, but dropped out to pursue his ambitions as a painter while travelling around Europe for a year and a half. Returning to America, he enrolled as an art student at the Pratt Institute in Brooklyn and at the same time began training as an actor at the American Academy for Dramatic Arts.

In , when he was 21, he married Lola Van Wagenen, a year-old bank teller from Utah. Their first child died aged five months from sudden infant death syndrome, into which Redford later funded research projects. They went on to have another three children - Shauna, now a year-old artist, Jamie, a year-old screenwriter, and Amy, a year-old actress. Redford now has four grandchildren.

Butch Cassidy and the Sundance Kid (1969) – Director: George Roy Hill

He and Lola were divorced in Redford made his Broadway debut in , with a walk-on role as a baseball player in Tall Story and within four years had graduated to leading roles on Broadway, when Mike Nichols cast him in Neil Simon's Bare- foot in the Park. That film also featured Sydney Pollack who would later direct Redford in seven feature films. The young Redford's significant early movies included Arthur Penn's much underestimated The Chase and the movie of Barefoot in the Park, but his looks lost Redford the plum role of Benjamin in The Graduate. Zanuck eventually but relucantly caved in: the movie became a huge success and made a star of Redford.

While most successful actors nowadays set up their own production companies as a matter of form - and vanity, in many cases - Redford founded Wildwood Enterprises back in at a time when few actors exerted any control over their careers. Those were the films that interested me, films that were different, like Downhill Racer, The Candidate and Jeremiah Johnson. Redford and Newman were reunited for The Sting, a major Oscar winner and box-office smash, but just as they declined the prequel to Butch and Sundance, they firmly refused a sequel to The Sting.

I just can't get a hold of that. I don't even have to think about it. To me, life's too short to spend time doing sequels or remakes. Their screen chemistry having shone through in their first two films together, he and Paul Newman went looking for other projects together - without success. It's just that we're not going to roll over and do just anything that comes along just to be paid a lot of money to be doing the Paul and Bob show. Redford describes the s as "the most productive period of my life".

This climate began in the s when cartoons started to become fashionable as films. Films that have strong narratives, intelligent scripts and real, well-developed characters are getting harder and harder to find. Most of the scripts I get now are made up of stage directions for how to blow things up.

That's not exciting. In fact, it's really boring.

Butch Cassidy and the Sundance Kid

We all know about the tensions that have existed for years with the management of the industry trying to control the talent. Too many nights outdoors out on cold rock with only a cowhide jacket and Butch nearby for warmth. He does wake, fitfully, in the late hours; slept right through the evening. Butch — he can hear shuffling — is not yet asleep. The two of them haven't been taking shifts with any real purpose, just years of habit and thievery.

A familiar rhythm to that shuffling, brisk but not steady, and Butch grinding his teeth together in frustration every now and then. He was always stubbornly right-handed. Sundance learnt in his teenage years to fire a gun with each hand, though the left was more often than not a deterrent; it looked a fierce threat, and stayed men flanking their weaker side from shooting back. His aim was never as sharp on the left. Sundance pulls Butch towards him gruffly, their bodies fitting together neatly, same height, same sort of build.

He's careful enough of Butch's damaged right hand, pulling it up to his chest and grasping the wrist in a sort of sling-hold, a sort of embrace. Butch has been seeing to himself politely, still tucked into his jeans, though they're unfastened and he's hard. Sundance spits in his right palm, frees up Butch properly, presses tight against him, and goes to it. What Sundance thinks about is this: he and Etta lovemaking in the little house she owned in the middle of nowhere, just the one bedroom and Butch always consigned to sleep swaddled up in blankets in the kitchen.

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It was a brisk winter, and Etta had kissed Sundance's neck, licked over where he had nicked himself shaving in the cold, and said, "Let's have him in here, huh, Harry? Let's bring him in, it's silly out this evening—". Butch starts up a low grunt a few strokes before he comes, lingers on the noise when he shoots off.

It's a pained, grateful sort of sound, and coming from anyone else, it might've sounded pitiful. Instead, Sundance feels the groan echo low in his stomach, as though Butch's few wrung-out seconds of pleasure are coursing from his skin, through Sundance's fingers, right into the beating heart of him.

Butch Cassidy

His hand and the sheets are a mess. Butch buries his face in the thin pillow for a moment, exhales, then gets up, limping to their little pile of worldly goods to find a handkerchief or something close to clean Sundance's hand. There are two beds in the twin room and, for the first and only time that night, they use them both. How Butch found out what was eating at Sundance, he doesn't know, but the fact of the matter is, Butch takes their last cents down to the nearest eatery while Sundance is dozing, buys a cup of coffee to look civil, and strikes up a conversation with strangers about whether that LeFors fella ever caught those two bandits he was chasin' after.

They found him a week back, some couple hundred miles from here. Something must've spooked his horse, bucked him, dashed his brains out on a rock in the middle of nowhere. Dried blood all over that damn hat. Who'd have thought? Bodies shot up so bad there was nothing left of 'em.