Hickey & Boggs
|Hickey & Boggs|
Theatrical release poster
|Directed by||Robert Culp|
|Produced by||Fouad Said|
|Written by||Walter Hill|
|Music by||Ted Ashford|
|Edited by||David Berlatsky|
|Distributed by||United Artists|
Culp and Bill Cosby, formerly Culp's co-star on I Spy, play weary, hard-luck private eyes Al Hickey and Frank Boggs hired to find a missing woman. Their enquiries bring death to almost everyone around them, culminating in a violent and downbeat conclusion.
- Bill Cosby as Al Hickey
- Robert Culp as Frank Boggs
- Ta-Ronce Allen as Nyona's Daughter
- Rosalind Cash as Nyona
- Lou Frizzell as Lawyer
- Isabel Sanford as Nyona's Mother
- Sheila Sullivan as Edith Boggs
- Robert Mandan as Mr. Brill
- Michael Moriarty as Ballard
- Vincent Gardenia as Papadakis
- Ed Lauter as Ted
- James Woods as Lt. Wyatt
The script was an original of Walter Hill's who sold it to John Calley of Warner Bros. Hill said he wrote it with Jason Robards and Strother Martin in mind. "It wasn't intentionally written for a black and a white actor," he said.
Calley sent the script to Bill Cosby who agreed to star in the film if Bob Culp would direct. (Culp had only directed one feature before, a documentary on Operation Breadbasket.) Culp agreed and the film was greenlit. However Culp and Calley disagreed over the budget - originally put at $2.2 million - so Calley sold the script to Culp, who tried to raise the money himself.
The budget was revised to $1 million; Fouad Said agreed to provide half the money; the other half came from Film Guarantors, a film financing arm of Taft Broadcasting. When United Artists came in as distributors, Said was repaid. it was Said's first film as a producer.
Culp then rewrote Hill's script. Hill said the script changed "by about twenty percent - not in terms of characters but the plot. I did advise the people involved not to play around with the plot because I thought it was a delicate structure, and if you pushed it, pulled it and tugged on it, a lot of it would fall down. But I think the characters help up pretty well."
Two weeks before filming, Culp had an hernia operation.
Culp estimated he left 50 minutes of the film on the cutting room floor.
"Win, lose or draw Hickey and Boggs is my version," said Culp. "Every bit of it".
Culp wanted to direct another film, a Western set in 1900 called Under the Sun, but it was never made.
Walter Hill later said he felt the film "had some nice moments, but it was cast much differently than it was written. I wasn't too excited about it."
"It became a cult film," said Culp in 1977. "It didn't earn me a nickel but the folks on the campuses liked it and it is used in several film courses."
When the film was released, the staff at Variety magazine questioned the film's screenplay, writing, "Culp makes his directorial bow and Fouad Said, who started in the industry as cameraman on I Spy series, debuts as a producer. Latter should have paid more attention to story line of the Walter Hill screenplay, which suffers through audience never being entirely certain as to the identity of some of the characters...Somehow, the femme is connected with missing loot but audience is never let in on secret."
In the same vein, The New York Times also panned the screenplay, writing, "...while Robert Culp, who is also making his directorial debut with this caper, shows a flair for action and eye-catching composition in sordid and serene views of Los Angeles where all the shooting takes place, Hickey and Boggs is not involved in a story or with characters really worthy of a full theatrical treatment. Let's say, that Walter Hill, a newcomer to the screen, has written a script that's long on complexity and short on character definition..."
More recently, critic Glenn Erickson made the case that the film was a bit dark for its time, writing, "There's plenty of violence and a dandy concluding shootout on a beach, but Hickey & Boggs was probably just too much of a downer to appeal to wide audiences. Action pictures of the time tended to be broader fantasies with humor and a lighter touch; heavy-duty cop shows like Badge 373 and The Friends of Eddie Coyle passed quietly. There's a scene in the picture where Hickey suffers a blow to his family and his whole life goes sour. From that point on there's little hope of anything pleasant happening. By the time of the final showdown our heroes seem to be going through the motions propelled only by existential inertia.
- Cosby and Culp Together Again: Cosby, Culp Team Up Again POICCARD, MICHEL. Los Angeles Times (1923-Current File) [Los Angeles, Calif] 03 Oct 1971: r1.
- Munn, Mike (1975). "Walter Hill on his way to the top". unknown. p. 32.
- "Interview with Robert Culp". The Consumate Culp.
- Vernon, S. (1972, Oct 25). Cosby, culp: Using that old black, white magic. Chicago Tribune (1963-Current File) Retrieved from https://search.proquest.com/docview/169244889
- Rips, M. (1972, Oct 15). Culp's 'hickey' topples hollywood's occupational class system. Los Angeles Times (1923-Current File) Retrieved from https://search.proquest.com/docview/156988929
- "Hard Riding", Greco, Mike, Film Comment 16.3 (May/Jun 1980): 13-19,80.
- y, J. T. (1977, Oct 02). Update. The Washington Post (1974-Current File) Retrieved from https://search.proquest.com/docview/146626493
- Variety, film review, September 20, 1972. Last accessed: February 23, 2011.
- Weiler, A. H. The New York Times, film review, "Hickey and Boggs, a Tale of Chasing and Carnage," September 21, 1972. Last accessed: February 23, 2011.
- Erickson, Glenn. DVD Savant, film/DVD review, May 22, 2004. Last accessed: February 23, 2011.