Pocket Money (1972)

The acting is good, and the firecracker script has some excellent ideas.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Pocket Money is a very good and subtle comedy about an ordinary person (Newman) trying hard not to be conned by shady businessmen (played by Strother Martin and Wayne Rogers). Those viewers who are looking for exciting thrills and heroic deeds from the lead characters in such films are missing the point - which seems to be the case with most of the earlier reviews of this film on IMDb.The storyline makes it clear from the start that Newman's character is a hard working modern cowboy trying to make ends meet despite not being blessed with the most sharpest of brains. As a study of such an everyman character, Newman's performance is (in my view) superb. Marvin's performance on the other hand is a little subdued and below par, but still there is a good chemistry between him and Newman in some scenes. The only disappointing aspect of this film is the ending, which seems to leave the story unnecessarily incomplete. However, overall, I would rate this a very good production of an off-beat story.

This is one that had to sound smashing on paper. Paul Newman and Lee Marvin… two superstars… on screen together, at last! With a pairing like that, it seems to be a foregone conclusion that the resulting film couldn't miss. And while the film is certainly entertaining in stretches, it ultimately falls short of the mark.Although the premise of Newman and Marvin bonding while participating in a Mexican cattle drive (among other things) had plenty of potential, Terrence Malick's (the soon-to-be director of such esteemed films as 1973's BADLANDS and1978's DAYS OF HEAVEN) screenplay ends up feeling aimless and Stuart Rosenberg's merely competent (though pedestrian) direction fails to maintain any consistent tone nor even much coherency. The innate charisma of Newman and Martin will keep one entertained, however, and they are well assisted by the likable secondary performances of Wayne Rogers and Christine Belford, in amusing bit. The film is quite likable at times due to its cast and unassuming nature, but it undeniably bland and characterless – not to mention a disappointing waste of its superstar pairing.

This is an excellent movie. Everything is about character development here. Newman's character has a different name but its basically Hud a few years down the road and a lot worse for wear. Newman and Marvin are great as always. If you are looking for lots of action, car chases, or romance look elsewhere my friends. This is a character study and a very good one. Newman is a down but not quite out cowboy and Marvin is his hustler buddy. They try to pick up some quick cash by working a shady cattle deal. Strother Martin and Wayne Rogers are very good as a couple of fly by night businessmen that Newman has the bad luck to associate with. The scene where Newman shakes down Martins character is hilarious. Another great scene is when they tell some Mexican cowboys that they came to Mexico to buy some chili peppers. This is a true to life modern western with no six guns but its fully loaded with charm and real world insight. Great movie!!!! Good acting and writing throughout.

Eccentric ambiance abounds, but this scruffy, mild modern-day western never builds much momentum. Down-on-his-luck Arizona cowboy takes job herding cattle through part of Mexico. Adaptation of J.P.S. Brown's novel "Jim Kane" isn't a strong vehicle for Paul Newman, likable but curiously dopey throughout (this is no "Hud"). Lee Marvin gives a friendly performance as Newman's equally half-witted cattle-broker pal. Director Stuart Rosenberg, who never does consistent work and therefore is a tough filmmaker to pin down, does a nice job at concocting a low-key, lightly rambling atmosphere, but the plot is too skimpy for these characters to truly come alive. As a character-study, it's a pleasant enough throwaway. Screenplay by future filmmaker--and cult icon--Terrence Malick, from an original treatment by John Gay. ** from ****