Historical Context
Ninety-Two in the Shade unveils a vision of America drained of its vigor and authenticity, a realm McGuane evocatively dubs "Hotcakesland." This land is the inevitable continuation of the journey Nicholas Payne embarked upon in The Bushwhacked Piano (197X; refer to separate entry). The protagonist, Thomas Skelton, returns to his roots in Key West, seeking refuge from the desolation that blankets the continent. Yet, what he encounters is merely the eccentric outliers of his society, draped in cheap showmanship and a frenzy of consumerism.
In this setting, it feels fitting that Skelton resides within an abandoned airplane fuselage, neighboring a rundown hostel where an intoxicated drill sergeant orchestrates the daily spectacle of inebriated tenants in a gag-inducing regimented exercise. When the principles that once supported cultural frameworks are dismantled or vanish, all that remains is the empty husk of those structures, ready to be repurposed for questionable intents. What was once biting satire in The Bushwhacked Piano now manifests as a more weary, disillusioned acceptance — a vision of American culture stripped of its essence, a cemetery of irreparably shattered dreams.
Adaptations
The cinematic adaptation of Ninety-Two in the Shade, unveiled by United Artists in 1975, showcases McGuane at the helm, both as screenwriter and director. With a stellar cast featuring Peter Fonda, Margot Kidder, and Warren Oates, the film resonated well with critics and audiences alike. Its charm lies in its refreshing departure from the polished veneer typical of Hollywood, coupled with outstanding performances—most notably, Oates’ portrayal of Nichol Dance, which garnered particular acclaim. Enthusiasts of auteur theory will find this film intriguing, as it represents a rare opportunity where a novelist orchestrates both the narrative and its cinematic execution. McGuane's significant modifications to his novel, including two distinct endings, add further interest to this unique artistic endeavor.
Ninety-Two in the Shade marks McGuane's second foray onto the silver screen, following The Sporting Club, which was brought to life by Avco Embassy Pictures in 1971. With a screenplay penned by Lorenzo Semple, Jr., and direction by Larry Peerce, the film, unfortunately, failed to leave a favorable impression, receiving uniformly poor reviews.
Exploring the realm of screenwriting further, McGuane penned several other screenplays. Rancho Deluxe (United Artists, 1975), headlined by Jeff Bridges, Elizabeth Ashley, and Slim Pickens, made its debut in the spring of that year....
(This entire section contains 395 words.)
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Often branded as "offbeat," this quirky and modern anti-Western has cultivated a devoted following, emblematic of McGuane's flair for unexpected juxtapositions and moral reversals.
Following shortly was The Missouri Breaks (United Artists, 1976), starring the legendary duo of Marlon Brando and Jack Nicholson under the direction of Arthur Penn. Despite its significant promotional effort, the film was largely panned, leaving Western aficionados disenchanted until Michael Cimino's Heaven's Gate managed to fare worse. The screenplay, published by Ballantine alongside the film, reveals McGuane's limited culpability for the movie's flaws. The most egregious aspects, especially towards its conclusion, are attributed to Brando's excesses and script alterations by Robert Towne, made at Nicholson's request.
Further showcasing his versatility, McGuane collaborated with Bud Shrake on the script for Tom Horn (Warner Brothers, 1980), a film of mixed reception, notable for being among the final performances of Steve McQueen. His latest Western screenplay, crafted with novelist and friend Jim Harrison, is Cold Feet (Avenue Pictures, 1989), starring Keith Carradine and Sally Kirkland. McGuane's esteemed reputation in this genre led to his appearance in the American Cinema series documentary "The Western," where he demonstrated his insightful and informed critique of the genre.