“In retrospect, “added Skerritt, now 84, “much of his behavior could be attributed to Post-Traumatic Stress Disorder condition from World War I. But he never gave me a hug and I never heard him say, ‘I love you.’ But I knew he loved me.” I cannot remember my father ever being affectionate except for giving me a half dollar once and patting me on the knee when we were driving in the car. Skerritt said his father “had that same Anglo-Saxon stiffness and unwillingness to display affection. The reverend had to look to Montana’s fishing holes to attain the emotions he was unable to express, hidden beneath the rocks of the flowing waters. Lots of its elements were of interest to me: time, memory, love, understanding, bonding, the role of nature and how it shapes our lives.”Īctor Tom Skerritt, who portrayed Maclean’s Presbyterian minister father in the film, saw the part as a reflection of his own father, a man who loved his children but could never show them that love overtly and freely. “This book was a part of my life before I even read it. If you did the wrong thing, silence was often your punishment,” Redford said to the Chicago Tribune in 1993. “My father, while full of good humor, could be strict and stern, uncompromising and stubborn. The similarity between Norman’s story with Redford’s own “Scots-Irish heritage” was also attractive to the filmmaker. Paul Maclean would also begin his journalism career there.
Maclean had accepted the position as executive of the Montana Presbyterian Synod. Both Norman and Paul would learn that fishing was a fine art, “performed on a four-count rhythm between ten and two o’clock.” The Maclean family, which included several sisters, moved to Helena by 1925, where the Rev. Maclean served as pastor of the First Presbyterian Church in Missoula for 17 years. In 1905, the family moved from Iowa to Montana and settled in Missoula. 23, 1902, the son of Presbyterian minister Dr.
Indeed, the movie’s evocative recitation changed Montana forever: a metaphorical river, the swish of water moving unendingly over rocks, an old man’s pruned hands fumblingly tying a fly to his line. Redford also employed narration to keep the author’s voice-a central element-in the film. Friedenberg said he condensed the story into a shorter time period to render the dark side of Paul Maclean that “led him astray and was ultimately very deadly.” Through interviews with Maclean, and by reading letters the author wrote decades ago to the woman he married, Jessie Burns, from Wolf Creek, Redford inserted details from the Macleans’ lives not present in the book.
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