With his thick neck and trapezoidal torso, Caan looked like the athlete he plays, but is less clear about his performance in “The Rain People”. It’s a heavy character – the sacrificial lamb of the killer story – yet Caan, working with Coppola, paints this part with a subtle, convincing innocence that doesn’t patronize the character nor his Strengthens the disability of As an actor, Caan can certainly grow and reveal a character’s inner workings (he does a lot around the eyebrows), and Kilgannon has his own great moments. Yet what compels the character to act is the intense indifference that shows how cruelly life has hollowed him out.
Caan’s ability to convey the sophistication of feeling was not the only gift, but, in her best roles, she Worked against He looked like a tough, a criminal, a bad, potentially dangerous man, even if his better characters were sometimes more complicated. As Caan’s fame grew (he was a longtime favorite of the newspaper’s film critics) and a variety of roles unfolded before him, he played against and against type and expectation, which New Hollywood Became one of the prominent faces of
It may be surprising how big Caan was in the 1970s, especially if you really only know “The Godfather”. Two years after the explosion of Coppola’s film, I An article on “The Last Detail,” which strengthened Jack Nicholson as a big star, has been hailed by the Times’ Vincent Canby as El Pacino, Dustin Hoffman and Kane’s often co-star, Robert Dowell, as well as other young men of the era. Declared one of the individuals. There are various reasons for Caan’s reputation to decline in the coming decades. For one thing, while Nicholson was consolidating his reputation as a sailor in “The Last Detail,” Kane was representing the Navy in “Cinderella Liberty” (1973).
I love “Cinderella Liberty,” But it is not as canonized as “The Last Detail,” written by Robert Town and directed by Hall Ashby. But “Cinderella” deserves love, partly because Caan is terrific in it as a sailor who, during an unplanned vacation, suddenly joins in with a wide range of good times (a wonderful Marsha Mason). ۔ They are loose and funny and sexy, and together they create a crude, unexpected, memorable romance. Given how aggressively male-dominated many of the 1970s classic films were, it is worth remembering that Caan was better with women in many ways than that, as indicated in “The Godfather.” Was given