TY - JOUR
AU - Cheever, Abigail
AB - 270 The Journal of American History June 2011 self-reliant characters with remarkable econ- omy and little noticeable eo ff rt (p. 25). Though he spends time on McQueen’s early performances in the theater and as the star of the popular television series Wanted: Dead or Alive (1958–1961), Gehring devotes most of his attention to McQueen’s version of method- inspired naturalism in the roles that made him famous: his early career-establishing work in John Sturges’s The Magnificent Seven (1960)— in which McQueen famously and repeatedly upstaged the film’s major star Yul Brynner— and The Great Escape (1963); the box-office favorites The Thomas Crown Affair (1968), Bullitt (1968), and The Getaway (1972), which (along with Bonnie and Clyde [1967] and Cool Hand Luke [1967], among others) helped refashion the minimalist antihero for a new generation; and arguably his strongest perfor- mances in The Sand Pebbles (1966), The Reiv - ers (1969), Junior Bonner (1972), and Papillon (1973). While Gehring’s focus is on the per- formances and the films, he details as well the psychic residue of McQueen’s difficult Steve McQueen: The Great Escape . By Wes childhood as manifested through his constant D. Gehring. (Indianapolis: Indiana Historical philandering and fraught relationships 
TI - Steve McQueen: The Great Escape
JF - The Journal of American History
DO - 10.1093/jahist/jar141
DA - 2011-06-01
UR - https://www.deepdyve.com/lp/oxford-university-press/steve-mcqueen-the-great-escape-0gABit0x3G
SP - 270
EP - 270
VL - 98
IS - 1
DP - DeepDyve
ER -