Goldman often refers to this script in his books on screenwriting as an example of a good script – he’s duly modest and all that but why shouldn’t he? It was a massive hit, really secured his place in Hollywood, and achieved the biggest ever sale for a spec script ($400,000 then – a record I believe was subsequently beaten by The Life and Times of Judge Roy Bean, The Yakuza, The Last Boy Scout, Basic Instinct and The Long Kiss Goodnight). The edition I read was a published version of the screenplay, complete with Goldman’s “cut to”s – I used to be a fan of this but they became irritating after a while.
This isn’t perfect – it’s not like, say, Casablanca, Double Indemnity or Citizen Kane. The middle is far too flabby – basically one long chase scene, with the leads going “who are those guys” (although it has a terrific second act curtain with the cliff jumping scene). Some of it’s annoying, such as “I got vision and the rest of the world wears bifocals”, the women are basically cut outs, even Etta (Goldman was never at his best with females; bromance was his strong suit).
But it has a marvellous first act – the way the lead characters are introduced, the world, their relationship, etc. This should be studied. It also has a terrific last act – moving, powerful, and fantastic ending. Goldman says he was attracted to the material because of the characters, particularly Butch (affable, not particularly violent, honest in his dishonest way), and the fact they went to Bolivia and managed to relive the past for a few years before dying. He was spot on, too – it packs a wallop, especially the final scene.
In a way, there’s something very Aussie about this script – there’s the reference to Australia at the end of course, but also the fact its about bushrangers (basically), and bromance and mateship, with interests being cash, horses and whores, and lots of humour and violence. No wonder it was popular here.
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