Man Who Killed Hitler and Then The Bigfoot, TheReviewed By Rob Gonsalves
Posted 02/08/19 16:00:00
(Worth A Look)
“It’s the Bigfoot, Ed. They want me to kill it.” That’s ol’ Calvin Barr (Sam Elliott) talking to his brother (Larry Miller) over a cup of powdered cocoa and mini-marshmallows.Some forty-odd years prior, Calvin also pulled the trigger on Hitler himself, hence the title The Man Who Killed Hitler and Then the Bigfoot. Like Bubba Ho-Tep, that title promises something different from what the movie delivers. A feature debut by Robert D. Krzykowski (who co-produced Lucky McKee’s The Woman), Hitler/Bigfoot has unexpected pathos and gravitas, and the titular killings are anti-climactic, almost beside the point. Calvin lost what was really important in the war — his innocence (a killer is something you can never un-become) and the love of his life.
Why did Calvin never track down his stateside sweetie, schoolteacher Maxine (Caitlin FitzGerald)? Probably because he felt stained by killing a man, even if that man was Hitler. As Calvin explains to the two government suits who recruit him to deal with Bigfoot, killing Hitler didn’t matter because his words survived him; like the deadly virus that the Bigfoot carries (which is why it urgently needs killing), Hitler’s hateful ideas radiated outward from his corpse and infected millions. Hitler and the Bigfoot both turn out to be smaller and less impressive in the flesh, and more easily killable. Killing them doesn’t make Calvin any happier or even more heroic. As he says, he just did what he was told.
That Hitler/Bigfoot is more subdued, humanistic and poignant than the title indicates doesn’t mean it’s a cult classic like Bubba Ho-Tep, though. It’s a little underdone, with an elaborate flashback structure that sometimes confuses us — we’re watching Calvin (played as a young man by Aidan Turner) during the war, then as a nail-tough codger in the ‘80s, then as a young man again before heading off to war. I suppose this structure is justified by being a tall tale about a man looking back on an eventful life. Krzykowski, though, either neglects or forgets about narrative beats we’re expecting. What happened to Maxine? Why does Calvin fake his own death if he’s just going to be seen publicly with Ed later on? And what’s that in his shoe that bothers him for the whole movie? A tracking device, I’m guessing — how the government keeps tabs on him. (It’s also implied there’s a painting in his parlor that’s bugged.) But Krzykowski has Calvin dump it out of his shoe in a medium shot, and we never get a good close look at the thing. For all we know, it’s the ring he never got a chance to give Maxine.
Still, if you enjoy Sam Elliott and his rich baritone, there are worse ways to spend your evening. Calvin is the sort of flawlessly ethical American who finds a $100 scratch ticket on the sidewalk but refuses to collect the winnings himself; who lives modestly with his trusty ol’ dawg and kills brain cells at a bar, saying he’s thinking about giving up the booze but knowing he won’t. Elliott puts all of this across effortlessly — he’s an iconic presence playing an iconic man who would rather just be obscure. “This is not the comic-book story you want it to be,” he tells the somewhat starry-eyed younger agents who pull him back in.The unemphatic directorial style promises that much, but it’s Elliott — his sad, measured voice the sound of a bruised soul who has seen more blood than you — who really delivers on the promise.
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