Plot: What’s it about?
Jack Ryan (Ryan O’Neal) is a drifter, a former military man who finds himself in search of a new profession. He has ambition, but he also has a short temper and if he is set off, he can turn violent in a heartbeat. He does find some work, but quite a lot of his time is taken up by a beautiful woman he has just encountered. She is Nancy Barker (Leigh Taylor-Young), a stunning woman with a wicked sense of adventure. Nancy would do almost anything for a thrill, even if it meant breaking the law to get her kicks, or bounces, as she calls the crimes. Most of her bounces are small, just little dirty deeds to score some cash and satisfy her need for danger. Of course, she manages to get Jack involved in her bounces, which conflicts with his other work. As it turns out, Nancy is the lover of the man who is a rival of Jack’s boss, so the situation is quite volatile. By the time Jack figures out the complicated mess, he is already in a lot of trouble and stands with a serious decision to make. He could go for the beautiful woman, try to score the cash, or do what he knows is the right thing, but even the last option isn’t a simple choice. But can he make a stand in time, or will the next bounce send him over the edge?
This film has never before been released on home video, but thanks to the remake, The Big Bounce has arrived. A remake seems odd for this movie, since it wasn’t bad, but wasn’t all that good either. But since Elmore Leonard (Out of Sight, Rum Punch) supplied the source novel, I suppose it shouldn’t come as a surprise to see an updated production. I can at least state with certainty that once again, the original remains the superior incarnation. In this case however, that isn’t too bold of a statement, since the new version is miserable. The Big Bounce is by no means a great movie, but it has some moments and is a brisk watch. Ryan O’Neal turns in one of his earliest performances, while costar Leigh Taylor-Young is red hot and burns up the screen. I wasn’t all that impressed with the cast, as the material could have inspired better efforts, but all in all, I think almost all of the turns are passable. The chemistry between O’Neal and Taylor-Young is strong and with good reason, as the two were husband and wife at the time of production. The main complaint I have with The Big Bounce is that it never aims high enough. The film seems to be satisfied with being just passable, when it could have been much better. So in the end, I can recommend The Big Bounce as a rental, though you should steer clear of the hideous remake.
As I mentioned before, I didn’t find myself all that dazzled with the performances here, nor was I let down. I do think the material lends itself to more bold, outgoing efforts, but the cast remains on the reserved side, at least for the most part. In the lead is Ryan O’Neal, in one of his earliest screen appearances, but he comes off like a professional. His comfort with his female costar could have a lot to do with his ease in front of the cameras, though as we would later discover, his overall skills are quite solid. I think he was a wise choice for this role too, as he brings a kind of innocence to a role that needs a softer side. So just enough charm to make us want to trust him, but at the same time, an obvious darker side. Just what the role demanded and while it sounds simple enough, fulfilling this type of role can be difficult. As evidence of that, you can watch Owen Wilson flounder in the same role in the remake of The Big Bounce. Wilson pushes too much and the role drowns, whereas O’Neal was able to make it all work. Other films with O’Neal include Malibu’s Most Wanted, Love Story, The Main Event, Paper Moon, and Barry Lyndon. The cast also includes Leigh Taylor-Young (Soylent Green, The Horsemen), Lee Grant (Defending Your Life, The Swarm), and James Daly (Planet of the Apes, Wild in the Sky).
Video: How does it look?
The Big Bounce is presented in 2.35:1 anamorphic widescreen. This is the first time this movie has been issued on home video, so Warner went all out with a new digital transfer, but how does the flick look in its debut? This turns out to be a solid visual treatment, but the elements suffer from flaws common to films from this time period. The print is clean as far as nicks and debris, with only minor instances to mention, but grain can be troublesome. As such, the visuals have a kind of softness and while not a serious problem, the softness is evident throughout. I found colors to be bright and contrast is even handed, so not all is lost because of the soft presence. In the end, this is still a fine presentation, just not a remarkable one.
Audio: How does it sound?
As this is the film’s debut on home video, I expected a red carpet 5.1 remix, but instead, we have just the original mono soundtrack. As you should be able to guess, this film is not an audio powerhouse, so while the included mono track is basic, it proves to be sufficient. It does seem like age has taken a toll on the materials, but not to an extreme level, so I wasn’t too let down. The dialogue is thin, but easy to understand, while the sound effects are in decent enough form. The excellent musical score is well presented, though again limited by the mono track’s abilities. This is not a great track to be sure, but it handles the basics and is acceptable, though I would like a new restored and remixed edition. This disc also includes subtitles in English, Spanish, and French, should you need those at some point.
Supplements: What are the extras?
This disc includes the film’s theatrical trailer.
