There’s a misnomer when it comes to screenwriters or playwrights who turn to directing. The assumption is often that, since they understand story, structure and character, they will naturally make decent film directors too. There have certainly been plenty of success stories, like Martin McDonagh, Alex Garland and Paul Schrader, but 1988’s Tequila Sunrise is a useful reminder that writing and directing are two very different disciplines.
Robert Towne was inarguably one of cinema’s great screenwriters, up there with William Goldman as one of the defining voices of 1970s Hollywood. He wrote iconic screenplays for ’70s classics Chinatown, Shampoo and The Last Detail, and contributed rewrites for Bonnie and Clyde and The Godfather. His record as a director, however, was considerably more modest.
Tequila Sunrise is the best film of Towne’s directing career, and for the most part it’s a great film. It’s wry and cerebral, and largely avoids the cheesier elements of ’80s cinema, featuring excellent performances across the board and a witty, too-clever-for-its-own-good script. Unfortunately, it also showcases Towne’s limitations behind the camera.
Mel Gibson plays Dale “Mac” McKussic, a retired drug dealer attempting to stay on the straight and narrow. His childhood friend Nick Freschia (Kurt Russell) is a detective working with the DEA to bring down a mysterious drug baron, while his erstwhile partner Hal Maguire (JT Walsh) makes it clear that if they catch Mac anywhere near the deal, he will bring him down. Caught between the friends is restaurant concierge Jo Ann Vallenari (Michelle Pfeiffer), who finds herself pursued by both men.
The film’s central irony is that everyone immediately assumes Nick is a dirty cop who will let Mac go if he ever catches him, while Mac’s legitimate attempts to go straight are similarly laughed at by his criminal associates. The opening scene, where the two men inadvertently bump into each other during a drug bust, beautifully establishes their dynamic. Nick loves Mac, but won’t hesitate to arrest him if he catches him reverting to his old ways. It’s essentially a film about two honest men trying to convince the world that they aren’t corrupt.
It’s unfortunate timing given the latest Mel Gibson controversy, because this is one of his most subtle, natural performances on film. He makes McKussic immediately charismatic and likeable, navigating the contradictions inherent in his character and still feeling like a real person. He genuinely wants to leave his old life behind him but is inexorably dragged back towards it by those on either side of the law. Pfeiffer is similarly impressive, increasingly infuriated by the two men who alternate between trying to seduce her and using her to get at each other.
Russell is perfect in the dramatic moments and in his combative scenes with Walsh, but in the lighter moments his performance can be a little cheesy. That being said, he gets one of the film’s best line deliveries as he calmly says to Walsh: “That’s not what we agreed. You are reneging on a deal. You are a lying, no-good, cocksucker and a four-flushing son of a bitch.” Walsh himself gives one of his best officious, slimy heel performances, and it’s immense fun seeing him butt heads with Russell. Finally, Raul Julia is amazing as the Mexican police chief, clearly relishing the opportunity to demonstrate his range, alternating between professionalism, bonhomie, and menace, plus impromptu opera performances.
And yet, the film still falls short of greatness. For all of Towne’s sparkling dialogue and complex plotting, there is a lack of clarity in the visual storytelling. Plot points and twists that could easily have been iconic scenes in the hands of a more experienced director are just thrown away by Towne. Conrad Hall’s Oscar-nominated cinematography is beautiful, but some of the best shot compositions in the film are just thrown away—something that ultimately comes down to the director.
It’s a useful demonstration of just how important directing and editing are. You only really notice these problems when everything else is firing on all cylinders. Tequila Sunrise is a cut above most ’80s cop thrillers, with a smart, funny script, uniformly excellent performances, and compelling characters. If it doesn’t establish Towne as a great director, it does reinforce just how incredible a writer he was.
4K Ultra HD Blu-ray Limited Edition Special Features
• Audio commentary by producer Thom Mount
• California Dreaming, a brand new interview with producer Thom Mount
• From Chinatown to Manhattan Beach, a brand new appreciation of Robert Towne by Lucy Bolton
• Sunrise to Sunset, a brand new interview with 2nd AD Robert Roda
• Sin City, a brand new interview with actor Lala Sloatman
• Image gallery
• Theatrical trailer
• Collectors’ booklet featuring new writing on the film by Sean Hogan and Josh Nelson, and excerpts from American Cinematographer
• Reversible sleeve featuring two original artwork options
Tequila Sunrise is released on 4K from Arrow Video on 14 September.
