MR BILLION
US, 1977, 93 minutes, Colour.
Terrence Hill, Valerie Perrine, Jackie Gleason, Slim Pickens,
Chill Wills, William Redfield.
Directed by Jonathan Kaplan.
American writer-director Jonathan Kaplan has acknowledged Terence Hill's appeal in his first American movie, but has treated him more intelligently than many of his Italian vehicles. In fact he makes an engaging immigrant hero who romanticises American and Western styles in far off Italy, but falls foul of too many ugly Americans there. The plot is a kind of knockabout, rags-to-riches fairytale, poking fun at greed and callous villains, glorifying the modern poor and simple. It's a comedy angle on the trend of films on American social injustice and wheeler-dealing. Pleasant, light, with Valerie Perrine and Jackie Gleeson supporting an attractive Terence Hill.
1. How enjoyable a light comedy, thriller overtones, social comment? The satisfactory blend of each?
2. The American tradition of the 30s of social comment via outstanding ordinary heroes and social critique of criminals, especially those with power and money? A social entertainment tradition with comment on the present? How did this film fit into the tradition?
3. The optimistic point of view of the film: as regards human nature, America? The importance of identifying throughout the film who was good, who was bad? What were the qualities of those who were good? The bad attributes of those who were bad?
4. The importance of the themes of money, wealth, greed, needs, ordinary people confronted with money? The focus on the poor, the kind, the greedy, the swindlers, the exploiters? Popular response to those who were good the popular acclaim of Mr Billion?
5. The importance of the ingredients of humour, romance, adventure, the final timing? How appropriately presented for this kind of film? The response of an audience to these ordinary ingredients from life?
6. Colour, music? The background of Italy? The panorama of America from New York right across the country to San Francisco? The visual impression of America and the variety of people within America?
7. How important was the film as a Terence Hill vehicle? His American film? His personae, type? The Italian hero ? with the light hair, the genial smile, the blue eyes? A hero to identify with? Attractive to women in the audience? His type in this film as a migrant, the poor boy receiving the money?
8. A male Cinderella story? His confrontation with the American types? The atmosphere centered with the opening comedy and the death of the financial magnate at the opening of his building? A quick humorous setting of the scene for the inheritance comedy?
9. The transition to Guido and his role as a mechanic, first seeing him driving the sports car and then discovering his poverty? The driving of the car as an indication of his masculinity, enterprise and daring? Coupler and the seeking out of Guido ? and the humorous parody of Westerns, spaghetti Westerns, John Wayne, the deaths in so many Westerns ? and the irony of Guido's actually being subjected to such dangers throughout the film? The skit on Terence Hill's Italian film personality? The irony of Guido learning English this way? A nice young man, his hopes, the migrant, his optimistic vision of America ? and how it was to be soured? The build-up of the newspapers and the ballyhoo about Mr. Billion?
10. The contrast with Cutler and Jackie Gleeson's portraying of the role? The American big business man, physically big, big greed? His plans, setting conditions for Guido to sign a document? The elaborate plans with Rosie? The type of American heavy villain?
11. The journey style for most of the film: the honours of the train journey film with overtones of Hitchcock and The Lady Vanishes, North By Northwest etc.? The Thirty-Nine? Steps and hero and heroine being handcuffed, kidnapped? The travel device for suspense, momentum, moving towards San Francisco, consciousness of time? The personal travelogue of America?
12. The film's comments on the press, the appeal of such popular folk heroes as Mr Billion? The reaction of the various people along the way ? disbelief, greed, help?
13. How did the train episode build up the tension: Rosie as a character, a modern day Mata Hari with a heart of gold? Her arrangement of the false rape situation? Guido's niceness, their being handcuffed? The encounter with Colonel Winkle and his helping them? Colonel Winkle as the first of a gallery of strange but nice American characters?
14. The growing bond between Rosie and Guido, especially their being kidnapped and hidden? Guido's disillusionment in learning the truth, Rosie and her disappointment? The gradual bond between them, especially by telephone and Guido’s wanting her rather than the money? An appropriate idealised romance?
15. The personalities that they encountered along the way e.g. the kidnappers themselves, the hooker who robbed Guido, Duane and his losing his property, the fight, jail together, the break? out? Getting food, taking the lady's car along the way, the encounter with the friendly Negro and the suspicious Negro?
16. Rosie and her devices to get back to Guido, forging his signature, the clash with Cutler? Cutler using her as blackmail to get into the Grand Canyon?
17. The momentum gathering as Guido and Duane move towards the Grand Canyon: the people they encounter, the sequence in the stock car rally? The gradual build-up of a view of the U.S. friendliness and the Ugly American?
18. The spectacle of the Grand Canyon and the appropriateness of having a fight there? Symbolism? Ambush, shooting, danger? The triumph of Guido?
19. The humorous device of the time change and the build-up to the final journey to San Francisco - the various vehicles, plane, parachuting. bicycle, running? How glad was the audience that he arrived on time?
20. The humour of the new Board at their Board meeting? The composition of the Board? In terms of fantasy, realism? The justification of the good and the poor? A pleasing social fable?
