“Murderer flees by helicopter” headlines the story of a convicted killer who escaped from a prison in Grasse; a town just north of Cannes famous for its perfumeries not its prisons.

However, Pascal Payet “was whisked away by a group of armed men who had hijacked the helicopter from the Cannes-Mandelieu airport.” This was Payet’s second escape. This story was found in “The Riviera Times,” a monthly news magazine in the English language. It pointed out to me that Riviera life, as I see it, on its highly polished surface is a romantic and surreal view.

French Gendarmares wearing the traditional kepi.

Because, like everywhere, there is sadness, tragedy and, of course, criminals. The Cannes Municipal Police are in evidence of course but I never see them in action aside from traffic situations; (unless, come to think of it, I count the time, decades ago, when I was arrested for public misbehavior at the old casino).

And, naturally, where there is significant wealth as there is here in Cannes – on conspicuous display as well – there will be thieves; in abundance. Thus “The Riviera Times” in another story, warns readers to, at all times, keep your car door and windows locked due to the incidence of carjacking here. This warning was repeated by the genial fellow at Budget when I rented a car for the day.

Lord Brougham discovered Cannes in the late nineteenth century when quarantined there while on his way to Nice. He fell in love with what was then a quaint fishing village.

So there are cracks in the veneer of the beautiful life on the cote d’azure – “quelle dommage” – but no surprise unless you, like me, are hopelessly romantic and a real sucker for “veneer.”

A very sad moment occurred two evenings ago as we sauntered along the very well-lit Rue d’Antibes returning from seeing “The Bourne Ultimatum” in English with French subtitles. The movie experience had been of the sort that bolsters your spirit and leaves you feeling “good.”

But, as we passed by the Hotel Gray D’Albion with its arcade of shops and salons de the, we noticed a large crowd forming along the next block with the street itself filling with police vehicles and firetrucks. Everyone was looking up and, sure enough, what appeared was a quite young person who was perched on the ledge of an eight-story building presumable preparing to jump to his or her death. The emergency personnel were talking to this youth via loud hailer and my assumption is that they were on the roof as well.

On this roof a young person was deciding his or her fate.

So there exists despair as well and from my experience with troubled young people, this kind of last resort is often tied in to drug use – certainly the great plague of North America’s youth.

I’m confident that this episode had a happy ending because no daily newspaper reported the incident to my knowledge but, at the time, our spirits were saddened and, once again, reminded that what we see as a glamorous Riviera life has its normal pockets of average people facing real, and often acutely demoralizing problems, like everybody else.

And criminals everywhere, cote d’azure or Paris, experience the same problem – how to go straight? And this seems to be a most difficult question as the odds are generally unfavorable. Rehabilitated, former criminals are a very small group!

The movie that comes to mind is a generally disregarded and battled-scarred effort by director Ulu Grosbard and stars Dustin Hoffman. “Straight Time” is the story of a small-time criminal attempting to go straight within a system where the cards are stacked against him – I’ve always thought it to be a great film.

Movie Review:

Straight Time

Directed by Ulu Grosbard — Warner Bros 1978
Starring: Dustin Hoffman,Theresa Russell, Gary Busey, Emmet T. Walsh, Harry Dean Stanton

When I first saw this movie I was absolutely knocked out! In my mind, it was the “sleeper” movie of the year – and, if you’re at all like me, you get a particular joy and sense of satisfaction from “stumbling upon” an excellent film.

For some reason, “Straight Time” was bum-rapped even before the production was completed. Dustin Hoffman was slated to direct the film and actually started the work but was replaced by Ulu Grosbard early on – leaving wounds undoubtedly. In any event, the movie was troubled from its inception and, I believe, essentially “written off” by its studio.

First hot dog after being released from prison.

However, when you look at “Straight Time’s” bona fides, they are impeccable. Adapted from the novel “No Beast So Fierce” by the fascinating, career criminal Eddie Bunker, it features a cast of excellent supporting players (Busey, Walsh, Russell, Stanton) who all play to the top of their abilities adding a grittiness, edge and authenticity to this chilling work.

Dustin Hoffman is Max Dembo, an appealing loser, who has just been released from a 7 year prison stretch for armed robbery. The story deals with his frustrating and ultimately unsuccessful attempt to rejoin the straight world in the face of an inordinately difficult parole/probation bureaucracy.

Max’s first meeting with supercilious parole officer.

Max Dembo is a small-time crook and, right from the outset of the story, the audience sees that his re-integration into society will fail. I recognized Max as a loser but, at the same time, liked him – a testimony to Dustin Hoffman’s intricate portrayal.

Some time ago, I was directing a television portrait of Sonny Grosso, one of the two famous New York City detectives who broke the “French Connection” case. He mentioned that the idea of going back to prison wasn’t so bad for most criminals because, as Sonny said, “all of their friends are there!”

And, if you add the fact that most criminals are only trained for a career beyond the law, then you have to ask the question – what are they going to do when they “get out.”

In “Straight Time,” Max Dembo has the additional hurdle of being assigned to a particularly nasty and sleazy parole officer (superbly played by Emett T. Walsh). I really felt for Max as he tried to cope with this bastard and experienced emotionally both the thrill of approval and the despair of defeat on behalf of Max as the inevitable, violent clash between Max and his parole officer lights up the screen and the film.

Max finally rebels and humiliates his tormentor.

There are really two parts to “Straight Time” – the first being Max’s struggle to deal with the demands of normal society; and the second being his decision to go back to thieving and the aftermath of that decision.

As mentioned above, the decision to return to the old, villainous ways is not too difficult – because, at least in Max’s case, that is all he knows how to do; it’s an adrenaline-charged life and going back to prison isn’t all that bad.

When Max begins his heists and recruiting his old cronies, the movie picks up an edge and intensity not seen or felt before in the film. “Straight Time” becomes exciting at this point (not that it is ever boring).

While robbing a jewelry store Max returns to his old exciting self.

Max becomes a different man, once his path is clear. He is quick, determined and explosive; gone is the uncertainty and the barely-contained obsequiousness demanded by his parole officer. 

Max is now a “free man;” able to do what he wants, when he wants for as long as this ride lasts. He takes off – and so does the movie.

In my experience, “Straight Time” is a much overlooked piece of work. Even Dustin Hoffman fans often are not aware of its existence, let alone its excellence.

I highly recommend it – you will not be disappointed.