“I think if he’d been a successful criminal, he would have felt better.”
Genres, Themes, Actors, and Directors:
Response to Peary’s Review:
and “Virgil being foiled in one bank robbery because the tellers can’t read his note correctly:
and in another because rival bank robbers turn up at the same time”.
(I also love the scene in which Virgil attempts to escape from prison by carving a gun out of soap, only to be foiled by a rainstorm.)
Peary complains that “the worst mistake Allen makes is not keeping Margolin’s character normal”, but I actually disagree; while Margolin is lovely and appropriately naive (only a young woman bordering on dumb would fall for a loser like Virgil!), she’s ultimately too “normal” for her own good.
Allen should have persisted in casting his then-wife, Louise Lasser, in the role; her “brief but effective cameo” (“You never met such a nothing; it’s hard to believe there was a mind working in there that knew how to rob banks!”) indicates what a difference this might have made.
(And speaking of Virgil’s family life, where in the world does their infant son disappear to? He’s born, then suddenly reappears years later as a young boy.) Putting such quibbles aside, however, Take the Money and Run remains an enjoyably loopy mockumentary, one of the first in what would become a mainstay subgenre made popular by Christopher Guest et al.
Note: Be sure to read TCM’s “Behind the Camera” article for fascinating background information on the film’s production.
Redeeming Qualities and Moments: