To the uninitiated, D.B. Cooper was the name allocated to an unidentified airline hijacker in the early 70’s. Holding the passengers of a Boeing 272 hostage, he was able to extort $200,000 in ransom before parachuting to an unknown fate.
Before boarding the plane, he had purchased a ticket under the alias Dan Cooper. It was only through a news miscommunication that he would come to be known as the infamous D.B. Cooper. To date, the true identity of D.B. Cooper remains a mystery, with his crime being the only case of air piracy in commercial aviation to still remain unsolved.
The ensuing investigation makes for a fascinating crime story. Unfortunately the Pursuit of D.B. Cooper (1981) takes an entirely fictional approach to the crime, focusing on a possible what if scenario of how Cooper escaped the authorities clutches after he landed.
In this version of events we follow insurance investigator Bill Gruen (Robert Duvall) who realises that D.B. Cooper is in fact his old army buddy Jim Meade (Treat Williams). Gruen remembers how Meade had spoken previously of hijacking a plane and decides that he would be the only person reckless enough to attempt such a daring crime.
His investigation brings him into contact with Meade’s wife Hannah (Kathryn Harrold), who runs their rafting company. It isn’t long until Gruen contacts Hannah, with the two of them quickly going on the run, followed quickly by the pursuing Gruen. As well as having Gruen on their tail, they also have to deal with the machinations of Remson (Paul Gleason) who has his own reasons for wanting to capture Meade.
Taking a fictional approach to the story isn’t the films main problem. Clearly a troubled production, the film was originally to be directed by the legendary John Frankenheimer, only to be replaced by Buzz Kulik early in the production. Frankenheimer later said that it was one of the worst experiences of his career, with him and management being lied to which resulted in them thinking they were making a different movie.
This wasn’t the end of the behind the scenes drama with the producers being unhappy with Kulik’s version of the film. With this they decided to bring aboard Roger Spottiswoode to direct a new stunt sequence which would be inserted into Kulik’s cut, which Spottiswoode was also to re-edit.
At this point in his career, Spottiswoode only had the slasher Terror Train (1980) under his belt. He had however edited the likes of Straw Dogs (1971) and Pat Garret and Billy the Kid (1973) for Sam Peckinpah so it is understandable why the producers would have turned to him to handle the reshoots and editing.
Upon viewing of the film Spottiswoode commented that the film was “doomed” unless the producers allowed him to reshoot new sequences in addition to the new stunt sequence. They agreed, with Spottiswoode bringing on Ron Shelton to write the new scenes. Reportedly 70% of the completed film belongs to Spottiswoode and Shelton, with Spottiswoode being the only credited director on the final cut.
Shelton was relatively new to Hollywood at this point. He and Spottiswoode would go on to collaborate on the more accomplished Under Fire (1983) and sports comedy The Best of Times (1986).
Shelton wasn’t credited for his writing work, with original screen writer Jeffrey Alan Fiskin being given sole writing credit. Shelton was instead given an associate producer credit as well as being listed as creative consultant. Interestingly, super producer Joel Silver also has a creative consultant credit on the film, although there isn’t much information available on what work he actually carried out.
Apparently the producers complained that the Kulik version of the story was overly serious and focused too much on Meade’s past as a Vietnam veteran. In this version of the story, Meade came up with the hijacking scheme to overcome his melancholy he had been feeling since the end of the war.
As well as adding in new characters, Spottiswoode and Shelton changed it to a more comedy driven chase movie, with their additions completely altering the tone and pace of the film.
The funny thing is, the main failing of the film is that it takes this comedic approach to proceedings, robbing the film of any sense of tension or excitement. The ensuing chase plays more like Smokey and the Bandit (1973) than the gripping thriller it should be. Thankfully winning performances and excellent stunt work stop the film from being a complete failure.
Robert Duvall does well in the lead role of Gruen, with the backstory between him and Meade being a nice addition. Unfortunately the script doesn’t build upon this, with the dramatic possibilities of their history ultimately being ignored.
Duvall is incapable of putting in a bad performance, but the changes in the script and the edit do take away from his performance. This is certainly one of his weaker roles of this period and pales in comparison to his great work in the underrated True Confessions (1981) released the same year.
The same is true for Treat Williams, who in the same year as D.B. Cooper would star in Sidney Lumet’s Prince of the City (1981), which is a much better illustration of his talent. His version of D.B. Cooper actually comes across as somewhat annoying, with him expecting his long suffering wife to come to his beck and call. Which it must be said she does without much persuasion.
The beautiful Kathryn Harrold actually fares better than Williams, giving a spirited performance as Meade’s wife Hannah, with her appearing tougher than our supposed hero. The only issue is the afore mentioned problem that she quickly accepts her husband’s hair brained scheme, but this is an issue with the writing and not her performance.
The true highlight of the film is the exploits of Paul Gleason as Remson, one of Meade and Gruen’s old army associates. He is a decidedly scummy character, with the majority of his scenes being played for laughs. You have to feel for him after all he goes through, only to come up with nothing.
There are also some small roles from the likes of R.G. Armstrong and Ed Flanders who brighten up the screen in the little time that they appear.
In terms of action, there are two impressive chase sequences that help liven up the pace. The first of these is a dangerous looking river chase. Although you can spot the stunt players on a number of occasions, it is no less impressive.
The second is the exciting finale with Meade in an airplane chasing down Gruen’s car. It is filled with impressive Arial stunts and is clearly the highlight of the film. The only drawback from these scenes is the obtrusive score form the usually reliable James Horner. While his score isn’t terrible, it doesn’t create the tension that scenes like this require.
While The Pursuit of D.B. Cooper isn’t the exhilarating crime thriller that it should be, there is still enjoyment to be had as long as views go in with lowered expectations.
Rating: 2.5/5
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