Robert Zemeckis Films Ranked: #7 – ‘Back to the Future III’ (1990)

by

#7 in my ranking of Robert Zemeckis’ films.

Following the complex and imaginative sequel, Marty and Doc embark on their last journey in the series, featuring a traditional time travel narrative similar to the original. The plot is consistently clear and well-executed, demonstrating Robert Zemeckis’ improved storytelling skills compared to the previous film. Additionally, this installment presents an unexpectedly touching love story for Doc that greatly enhances its overall appeal.

By producing and filming the second and third movies concurrently, they significantly boosted the quality of the third one. The second movie was burdened with an ending from the first that wasn’t intended to be continued, but it was crafted to set up a specific adventure in the third. Moreover, the two directors viewed the second film as a prelude to the third, establishing character traits and storylines that would later reappear and find resolution in the final installment. Some aspects seemed out of place in Part II, such as the “chicken” characteristic left unresolved there or the scene from A Fistful of Dollars that felt unnecessary, but they fit much better in Part III.

Initially, Marty observed as Doc vanished into the sky, leaving behind nothing but thin air. It was later revealed that Doc had traveled from 1955 to 1885 in time. Using a seventy-year-old note penned by Doc as a roadmap, Marty enlisted the aid of the 1955 version of Doc to help him locate the hidden DeLorean in a mine shaft, restore the time machine to working order, and immediately return to 1885 to prevent Doc’s untimely demise.

One delightful aspect of this franchise lies in how it playfully acknowledges its own recurring themes and plotlines. Each film follows a pattern with distinct events that are humorously reoccurring yet set in diverse scenarios. For instance, a character like Tanner shouting “McFly!” in a bar to confuse Marty, or the high-speed chase through Hill Valley streets, or the recurrence of characters such as Strickland and their ancestors. These elements create a recognizable foundation across all three films. Moreover, the first and third movies share a similar narrative where Marty travels back in time and relies on Doc’s help to return to the future. It’s the creative twists on these shared storylines that make it intriguing.

In the initial film, Doctor Emmett Brown was portrayed as an eccentric scientist, harboring lofty aspirations, fearful of his own shortcomings, and deeply conscious of the space-time continuum. However, in the third movie, Doc experiences a romantic fascination that adds a delightful twist to the storyline. The arrival of Clara Clayton, a new schoolteacher in Hill Valley, coincides with Marty and Doc’s preparation for their return home. Immediately smitten by Clara, Doc finds himself drawn to her in ways beyond his usual rationality. She is attractive, slightly older, and shares his passion for science and Jules Verne, making her an extraordinary woman who seems capable of evoking more from Doc than just logic. Their relationship adds a tender touch to the film, serving as the foundation for its emotional depth.

Meanwhile, Marty remains the character driven by a singular goal, but in this movie, he undergoes a transformation. On the other hand, Doc experiences an emotional bond and development that significantly alters his character by the end of the film. It’s important to note that Marty does grow throughout the story as well. The “chicken” aspect, which was previously emphasized in the future segment of the second movie, evolves beyond a mere quirky trait, becoming a catalyst for Marty’s self-examination and personal growth. This development is skillfully handled, particularly in Marty’s interactions with Seamus, despite the technical challenges posed by the complex composites required in the late 80s and early 90s.

In these movies, Marty consistently draws trouble for himself, this time aiming it at Buford “Mad Dog” Tannen, a contemporary character with whom he shares a contentious history. Arriving in town in an eye-catching pink and blue cowboy outfit, Marty inevitably catches the attention of Tannen. The resemblance between Marty and Tannen’s ancestral foe, Seamus, further aggravates their already strained relationship, leading to Marty being targeted with gunfire, roped up, and almost hanged. Fortunately, Doc intervenes with a modified rifle just in time.

Later, the pair focuses on fixing the DeLorean after Marty unintentionally cuts its fuel line upon arrival due to rough terrain and a chase with locals. They eventually decide to rob a train, heat up the boiler to an explosive temperature, and ride the extreme speeds until the car can reach the required speed. This will happen on a bridge that won’t be built for another eighteen months from their departure but ninety-nine years before they arrive.

One delightful aspect of these movies is how skillfully they’re structured, particularly the first and third installments. The intricacies of time travel, along with the methods and mechanisms, are meticulously established yet never come off as dull explanations (a significant part of this is due to Christopher Lloyd’s energetic portrayal of Doc Brown, even during exposition, he seems on the verge of an explosion, creating a sense of unexpected tension). Concurrently, the risks involved in the mission are vividly depicted. If Marty and Doc fail to catch the train on time, Buford “Mad Dog” Tannen will either kill one or both of them. If they can’t get the train up to 88 miles per hour, the time machine will tumble into the ravine below. The practical dangers blend seamlessly with Doc Brown’s emotional struggles. By the end, his emotional resolution with Clara feels deserved and fulfilling.

It appears that many viewers consider these movies to have a declining quality from the first to the third, with the first being highly regarded, the second receiving mixed reviews, and the third considered the least favorite. However, I strongly disagree. The first film stands out due to its raw action and storyline, which the subsequent ones fail to replicate. The second movie, in my opinion, is disorganized. On the other hand, the third film offers a thrilling adventure that adds depth to Doc and provides a satisfying conclusion to the series. While Roger Ebert gave it a 2.5-star review, criticizing its romanticized portrayal of the Old West compared to films like McCabe and Mrs. Miller by Altman, I don’t fully understand his perspective. The objective isn’t to innovate storytelling in the Old West; instead, it’s about creating a fresh take on a Back to the Future movie. This film pays homage to the Western genre, incorporating elements from Once Upon a Time in the West, appearances by Harry Carey Jr., Pat Buttram, and Dub Taylor, and using Clint Eastwood as Marty’s alias. Essentially, this is a Back to the Future story set in the Old West, and it successfully serves both as a tribute to the genre and as character development for our main protagonists.

It’s entertaining to consider that the entire three-part series unfolds within roughly two weeks in Marty’s life, condensed into a single day from the start of the first film to the end of the third. Marty encounters many events, undergoes significant changes, and ultimately matures, and I believe that Part III offers an excellent conclusion to Marty’s time-travel escapades. I share Bob Gale’s sentiment that there should be no additional movies in this series. I can’t help but worry about the day when both he and Zemeckis pass away, as their estates will likely sell the rights swiftly, leading to a revival of 80s nostalgia with a remake of Back to the Future, featuring a new teenage protagonist who time-travels back to 1985. Until then, we can enjoy the original trilogy packed with excitement and fun.

Read More

2025-01-19 00:30