Baby the Rain Must Fall

source: Baby the Rain Must Fall

Based on a short-lived Horton Foote play "The Traveling Lady", this character study focuses on faithful wife Remick, who is reuniting with her husband McQueen who has just been released from prison after several years following a stabbing. Arriving in his hometown, she is surprised to find that he has actually been released for close to a month and is working for room and board at a local couple's home while pursuing a career as a honky-tonk singer at night. Overseeing his behavior with great dismay is his decrepit foster mother Simmons, who prefers him to attend night school in order to make a living. As McQueen struggles to readjust to life on the outside, now with a family to support, he longs for Simmons' approval of his dream to sing for a living. Meanwhile, as Remick begins to break under the weight of McQueen's issues, local Deputy Sheriff Murray provides support, even as he is grappling with the loss of his own spouse. Remick, an actress who usually exuded brains and sophistication, tries hard here to present a simple and plain character and generally succeeds. McQueen takes on a role that is almost autobiographical in terms of the character's past. He is quite authentic and believable except when it comes to the singing. Here he is notably poor at lip-synching and effectively rendering the musical numbers in the film. It's a shame because, otherwise, this is among his best work as a legitimate actor. Murray is amiable and sensitive. Block gives a very unaffected and naturalistic performance as McQueen and Remick's little girl. (This is her only screen credit.) A number of talented character actors dot the cast, though most of them could do a lot more than for what they are called upon. It is perhaps not the most arresting movie since very little actually happens over the course of it, but it does contain some committed acting work from its cast, sports some nice black and white photography, has a vivid, weary, small-town atmosphere and begins with Saul Bass-inspired credits. Also, the title tune (a hit single for Glen Yarbrough) and another one or two numbers are heard. Impatient viewers may bail out long before the end, though fans of the stars should see it and will likely enjoy it.

Beautiful performances from Steve McQueen and especially Lee Remick highlight this rather sad rambling film of the type Hollywood doesn't make anymore. A small personal drama that explores the lives of regular people just struggling to make a place for themselves in the world. Nothing blows up, it's all about emotions here. Horton Foote's screenplay, based on his play, shows his customary understanding of how people react and interact with each other while Ernest Laszlo stark black and white cinematography evokes the dusty small town Texas setting in a way color never could. Something that you'd find either on the indie circuit or maybe on cable today certainly not in major markets as this was and hardly with stars of this magnitude.

Next to "Sand Pebbles," this film is the best of Steve McQueen. The audience feels his "imprisonment " by the countryside , by the once rich lady who took him in , by his desire to be a singer in a band even if he hasn't all that much talent. I also felt his frustration with being unable to do what his heart desires , a frustration that almost destroys him. I love the symbol of the hope represented by the final shot of the china-berry tree he plants for his daughter , the title song that helps define McQueen's character ,and the final line in the film given by Lee to her daughter..What other human being has not felt these feelings ? A minor classic for me! A gem for both Steve and Lee"s acting , acting almost without words!

This movie is short on plot, but long on attitude. As I watched this movie, I kept looking for it to take a more optimistic, even-the-bad- guys will overcome story line. In its time, it was a remarkable realistic view of the life of someone on the outside, one who didn't fit. The images and emotions displayed all combine to help you understand those people who were not the class presidents, sports stars, or young professionals. There are no heroes in this film. I understand that this movie is semi-biographical for Steve McQueen. I think that is why he plays his role so well.

I have read the reviews on the title "Baby The Rain Must Fall" and I say anyone who doesn't love this movie is out of their mind, to me Steve McQueen never gave a bad performance, and yes that even includes "The Hunter" and the Campy "The Blob", This film is basically about a dreamer who can't seem to stay on the right side of the law and out of trouble,and Lee Remick, I can never tire of watching her, this is a **** star movie and a real gem For those of you who didn't like the film, well all I have to say is go watch Howard The Duck instead, because I am sure that is your "Casablanca"

I find this film quite fascinating because of its setting and style. The credits on the road and the black and white photography are so striking and evocative of its time that if one in the year 2005 wants to get a real sense of the quiet 'sixties rural/suburban time, this film will do it for you. I find it a companion piece to BUS RILEY'S BACK IN TOWN and even THE STRIPPER all made around the same time, as if a set of films of a similar tone and look all made in the same US town. Where I lived in Australia in 1965 was exactly like all these films but this this one gives me the childhood recollection of hearing the sad adult conversations of neighbors. These 3 films deserve better awareness of lonely and changing 60s life before Vietnam horror and psychedelia took over and perhaps offer the best sense of time travel one could wish for. If you also want a bitter chaser with a wicked laugh, add KISS ME STUPID to the mix.

I just saw this hauntingly beautiful film last night on AMC. It's subtle beauty requires viewers' attention and participation. Do not watch it if you're in the mood for an easy escape film. To appreciate it you must be sensitive to facial expression and non-verbal signal. It also helps to understand a little about the culture of the South. It works on two levels, at least: First, it tells the story of a wife's dawning understanding of the hopelessness of her marriage and her resolve to have a good life anyway. Second, it shows the tragedy of severe child abuse in great depth and reveals the community's culpability. I've never seen a more powerful visual metaphor than Henry's escape attempt, where camera facing him head-on, he runs furiously, climbing and clinging and failing to make it onto the back of a speeding truck. The film juxtaposes Henry's relationship to his adopted mother to the relationship of his wife to their daughter. This loving, beautiful relationship is the pivot around which the story revolves. Henry, dull, unintelligent, abused Henry is lost, but in one area he had supreme luck (or supreme judgment). His child has what he never had, and will grow up beautifully. He could not have chosen a better mother for his daughter. The screenplay, acting and direction are all superb.

Apparently both Steve McQueen and Lee Remick made this movie because they lost the same bet. At least up to this point in time (1964), even McQueen's bad movies were light hearted or action packed. This film has no redeeming qualities, not even Lee Remick's stunning looks, which were even made to appear haggard for "effect". Even understanding that this is SUPPOSED to be a depressing movie, about the futility of a born loser's life, all it really does is point up that watching a bad movie is always futile, no matter who's in it. Unlike other message films, this one misses the mark. Even the title song is sung out of key. Also this film marks a turning point (to my mind at least) in McQueen's film career and personal life. Up until now his roles had been predictable; war films or westerns and an occasional comedy. This film's character is dark (even darker than PVT. Reese in Hell is for Heroes). He's a loser and nothing he does will change that. The film was depressing and it was followed by some other really depressing McQueen films. Plus his reputation began to change; he divorced Neile Adams and let his hair grow unkempt. With the exception of The Sand Pebbles, McQueen's films didn't do as much for me after this.

It seems that every, single time I see Steve McQueen in any movie (be it from the beginning, the middle, or the end of his career), I always end up asking myself - "How the hell did this dull, non-charismatic bloke ever become a big-name star?" I find McQueen to be one of the blandest, insincere and unconvincing actors of his (or any) generation. Far from being what I would consider a "cool" dude, McQueen really had a tendency to grate on my nerves with his blah character portrayals. And if having to endure McQueen's dreary screen-dynamics was bad enough, I think that when it came to the depressing and absurd nature of this film's story, the viewer would have to be pretty dense and mighty gullible to take its utter nonsense at face value. From my point of view, this film's only really worthwhile moments were the unintentionally hilarious scenes where McQueen (who was unconvincingly playing an ex-con with a mean, hair-trigger temper who's now trying to make it as a rockabilly singer) lip-syncs during his live performance on stage at the town's local hot-spot. Man, you wouldn't believe how really bad McQueen was at lip-syncing. Not only could he not get his mouth in sync with the words, but the voice of the real singer did not suit McQueen at all. Ha! What a laugh-and-a-half! McQueen was so pathetically bad that I couldn't help but burst out laughing. Set in the town of Columbus, Texas - This clichéd "rebel-without-a-cause" story really sucked. I thought that its title "Baby, The Rain Must Fall" was very unfitting, since all of the troubles (rain) that fell on McQueen's character were clearly brought on by his own stupid actions. P.S. - Had this film not starred McQueen, then, yes, I might have actually rated it somewhat higher.