I’ve been meaning to return to The Tin Star (1957) for a while now, an under appreciated Western by Anthony Mann without James Stewart, his first Western without Stewart due to a falling out between the two of them. I wonder how he would have approached this role, making it the 8th together. Instead turning to Henry Fonda, a longtime friend of Stewart’s making for the film we have today. Paired opposite a young pre-Pyscho Anthony Perkins which itself makes for interesting reading.
I could come at this review as a could have been different with James Stewart but that would be doing a dis-service to decent film that takes on the apprentice/master relationship. Something that has been done countless times, to become a man you must be able to defend yourself. Here however you don’t need the guns to do so. They are simply tools, something that fresh-faced Sheriff Ben Owens (Anthony Perkins) has to learn the hard way. When bounty hunter Morgan ‘Morg’ Hickman (Henry Fonda) arrives with bounty in tow he wants only to collect his money and leave, keep to himself and cause no trouble. His very presence in the town causes a stir with the establishment and business that have supported Ben who took over at little notice. “This is a law and order town” is mentioned a few times to warn Hickman off interfering on his way. This is not the Clint Eastwood bounty hunter whose very presence scares those he’s about to shout down and collect on. This town has moved on from this model of keeping law and order. It’s follow the law and live by the law. Yet we still have the classic Dead or Alive posters which contradict that thinking. criminals are still wanted, however the arrive is a different matter. Hickman’s presence spreads fast through the town, no rooms at the only hotel, no room for his horse at the livery stable (on the edge of town). They don’t want him to stay, he’s a reminder of a different time, he’s outmoded.
Instead of being filled with rage, like many of Stewart’s roles, there’s no build up of emotion, not big release that leads to great dramatic scene. Instead he holds his own in a town that resists him. Taking up lodgings with another outsider Nona Mayfield (Betsy Palmer) and her mixed race son Kip (Michel Ray) a curious boy who wants only to play with others. Not having many friends due to his Native American heritage (which isn’t really mentioned outside the house). Getting off to a rocky start, it could have increased in tension however it’s dealt with calmly the next day surprisingly well.
The main focus of the film is making a sheriff out of Owens who wants to assume the role with more confidence, something that he is lacking. This could also be seen in the actors hidden sexuality, hiding him true-self on-screen to conform and get work. Can only a heterosexual male become a sheriff? His skills with a gun are rough around the edges, it takes Hickman’s presence, a former sheriff himself to help him. It’s a reluctant help, after being pleaded by the sheriff, not the image we’re used to in our law enforcement out in the West. He’s still a boy who needs to learn the ways of being a man. It takes another to teach him. We get the classic target practice scene, not played so much for comedy, more to see how far he has to go. He wants to prove himself to the town and his woman – Millie Parker (Mary Webster) who wants him to take off the badge to live a safer life, unlike her father who died with it on.
Another test comes in the form of Bart Bogardus (Neville Brand) one of the ugliest men you could get caught up in a fight with. A man who should really be wearing the badge, instead he tests the sheriff to the limit. When a posse’s formed to catch two men responsible for the deaths of two elder men, he leads the mob mentality, which is stirred up. Owens seems powerless to really do much about him. If Ben can overcome him, stand up to the brute he has come a long way, learning how to hold himself in public and as the law. The bully of the playground has no one left to push around.
The real test comes as the posse are out chasing no-one after setting a light, Hickman has resisted the lure of the reward on the two wanted brothers Ed and Zeke McGaffey (Lee Van Cleef and Peter Baldwin), again mixed race with Native American heritage, these two face the full force of racism, whilst young Kip joins in from a distance playing sheriff on his new horse. Hickman is able to put his drive for money to one-side when he knows Kip’s caught up, becoming a father figure to him. Not forgetting his sheriff in-training Ben who just wont listen to reason, stay out of it and be safe. The life he wants is fraught with danger and heartache, which can be avoided. Instead he’s headstrong and blinkered, riding in to prove himself. Ultimately, no guns are used to safe the day and bring in the two men. Even when they face a lynch mob, guns are threatened not used, showing that can be used as tools not just weapons for protection.
Tin Star is the beginning of a decline for Mann who had made some classic Westerns with Stewart, this could have been up there. Gary Cooper makes for a strong replacement in The Man of the West (1958). However from there on in it’s down and out, if we ignore a tense The Heroes of Telemark (1965) for a brief return to form. Here however we have a small budget film that tries to get into the characters, some more successful that others. There’s a lot going on in this 80 odd minute film, it’s tight with a bit of excess around the edges. I know I’ll be revisiting in future thanks to a fine performance from Fonda which gives it some weight and experience.
Now I have to be honest, I never thought I’d be reviewing Captain Apache (1971), if anything I thought I’d have been ruthless and stopped watching it before the end. I even thought this was another Spaghetti Western. I am once again proven wrong, it’s a British shot and produced western that has the look of a Spaghetti Western, however maybe that’s purely on the aesthetics, it doesn’t have the richness of colours or the budget, not even the violence, sure people are shot every ten minutes or so, yet there is no blood, which Italian directors were not afraid to use and to excess sometimes. We don’t have the vocal dubbing either so we lose the out of sync dialogue in places. If anything its a low-budget entry into the genre during its period of falling out of favor with the public.
This is one of those rare British Westerns that (attempts to) follow in the footsteps of our Italian counterparts, with British restraint on the violence (maybe a budget issue), we have a star actor (Lee Van Cleef) surrounded by a practically unknown supporting cast. With exception to Carroll Baker and Stuart Whitman who have starred in a few westerns themselves. Here they have larger parts in the decidedly dodgy Western, which I’ll explain below.
The very title is today very controversial, Captain Apache a captain in the U.S. Army who is sometimes called a “Red Ass”, a derogatory term in the film and even more so today. Played with Van Cleef minus is signature tash that really makes the actors red make-up stand out even more. If he hadn’t shaved off the old tash we wouldn’t be recognise him as easily. A complete reverse of Henry Fonda in Once Upon a Time in the West (1968) for which he grew one especially, only to be told to shave it. Recognition was more important for the director and his audience, that is lost here, which takes a while to get used to.
I’ve never been happy, well no one is with the “redding-up” of white actors and this is no exception really, thankfully I have more to keep me occupied than the make-up. The plot is very disjointed, I wouldn’t say confusing as there’s not much of a plot. We follow Captain Apache and his soldiers who actually follow the Native American’s orders without question, they don’t even talk behind his back, they respect him to our knowledge. We are seeing the other, the enemy who has been fully assimilated into the white mans world. If that’s a good thing or not is another matter. It’s the people who are not in uniform who have a hard time accepting the Apache’s position in society. Historically they would never have put on the uniform of a Blue-coat which really takes this film into the realm of fantasy, history’s thrown aside for pure danger and drama.
Moving away from the depiction of the Apache we have a plot that really take a longtime to get going. We have the army investigating something about “April Morning” the last words by the Indian commissioner (not clearly mentioned), is this code for something, is April a person, for a while I thought it was Carroll Baker‘s character Maude who takes on the role of the prostitute and tacked on at the end, old love interest of the captains. We also have Stuart Whitman‘s Griffin whose hot on the trail also with his men that drop like flies around the captain. Its an odd murder investigation for sure as we just seem to get little bits of information.
For me it doesn’t make much sense, so why did I continue watching this bizarre unstructured western that tries to be a Spaghetti Western. I guess part of me was just curious to see what weird and wonderful things would happen. Maybe it was the final train sequence when everything comes together as people disappear and reappear in an assassination attempt, even then it doesn’t really make sense as the U.S. army come to the rescue out of nowhere. It’s an interesting mess of a British Western that tries to live up to others who have already made a distinctive mark on the genre.
I’ve been looking out for Ulzana’s Raid (1972) ever since I read about it a years ago, discussed in relation to Native American’s once again. Focusing this time on an army company of men in search of a band of Apache who had left the reservation at the beginning of the film. Something which I can relate to in my current work. Naturally the army’s notified of Ulzana (Joaquín Martínez) and his braves who have left over night. Today you would rightly be behind the Apache’s to make a break for freedom. I noticed as the film progress as much as it has dated it has a new relevance in the age of ISIS and Islamaphobia which has gripped parts of the world. I’ll explain my observation as I carry on. My initial reading (literally) was a comparison with McIntosh (Burt Lancaster) and Ethan Edwards (John Wayne) yes there’s more discussion about The Searchers (1956) this time focusing on how the white man functions with his knowledge of the other.
Much like my review of The Stalking Moon (1968) we have an army scout with knowledge of “Indians” for Edwards the knowledge comes from an undisclosed place in a back story that fuels his hate, scaring those around him to the point of alienation leaving him with his unwanted mixed race Cherokee Martin Pawley (Jeffrey Hunter) who stick with him throughout, thick and thin. We can only presume his knowledge comes after leaving the Confederate Army, being absent from the surrender he follows a different path from everyone else who has seemingly adjusted to post civil war life.
With Edwards out of the army, I turn to those still in the army, Varner’s (Gregory Peck) seen as a knowledge, the army want him to stay, they feel safer with him and his partner riding with them. I can’t really imagine Peck ever being as dangerous as Wayne could ever portray. Even the white woman Sarah (Eva Marie Saint) feels safe in his company as her escorts her home. Turning to Mcintosh he is as worldly-wise as they others, you can see it on his face, he has seen a lot, done a lot and even married a Native woman for his wife. Something that Edwards would never contemplate, his racism wouldn’t allow it. He is more willing to share his knowledge as advise not to scare the cavalry men he is riding with. He wants to educate not fear them, he doesn’t need to do that as the trail of blood-shed speaks for itself. He instead explains what they do and why.
If anything the explanation for all the atrocities is better explained by the sole Apache Ke-Ni-Tay (Jorge Luke) whose allowed to have a good portion of the script. He’s better able to answer all the questions that the men have. Especially for wet behind the ears Lt. Garnett DeBuin (Bruce Davison) who sees all this death as meaningless, he wants to act without fully understanding his enemy. He’s Lt. Col. Owen Thursday (Henry Fonda) before the racism has set in, wanting to make a career and a name for himself in the army. Here’s the chance to learn and change his perspective and direction in life. With the motives for the Apache’s explained by Ke-Ni-Tay, acting as the others representative. Today he could represent the hunted ISIS (and rightly so to) he becomes the misunderstood Muslim who has done nothing wrong, whose labelled the potential terrorist in their absence. Racism without cause, fear is wrong directed to Muslims when 99% of them are as decent as everyone else we meet on the street. It’s the 1% who are disillusioned, radicalized and want to inflict harm on the rest of the world. Back in the Western of the 1970’s the Native Americans act as the Vietnamese who have been wrongly killed because of the fear of communism (I know there’s more to it than that).
I want to look at some lines from the film, something I do rarely, a few stood out for me that I have to interrogate.
Do you hate Apaches, Mr. McIntosh? – Lt. Harry Garnett DeBuin
No. – McIntosh
Well, I do. – Lt. Harry Garnett DeBuin
Well, it might not make you happy, Lieutenant, but it sure won’t make you lonesome. Most white folks hereabout feel the same way you do. – McIntosh
Why don’t you feel that way? – Lt. Harry Garnett DeBuin
It would be like hating the desert because there ain’t no water in it. For now, I can get by being plenty scared of ’em. – McIntosh:
It feels like a conversation that could have taken place in Fort Apache if rank wasn’t a problem between Thursday and Capt. Kirby York (Wayne). Instead with have the advantage of age over experience. The time to consider whether there is enough time in life to devote so much to hating a race of people. McIntosh understand his commanding officers position but has given up on the emotion as it only gets in the way of living and functioning as a human being out in the frontier.
Turning now to the violence of the film, this isn’t one that young kids could watch and get a sense of fun, the cowboy and Indian dynamic of the past is not present in this film. The violence is more brutal. Animal rights groups would today have ensure animals were treated better. There’s nothing to suggest that any animals were harmed or not. This is a few years before Heaven’s Gate (1980) and exploding horses in the name of art. As much as the violence is tame in some respects, when you see a horses neck being cut you think twice about putting a young child in front of the screen. We are meant to see these violent acts, suggesting that the Apache are not civilised, they are capable of terrible acts, making the cavalry’s presence all the more relevant. The savages have to be tamed if possible at all costs. Although history would argue they only ever acted in self defense at the threat of losing their way of life. Once again I am mixing fact with fiction and in film that doesn’t always work.
The depiction of the Native American’s doesn’t really fare that much better than the animals, They are treated once again as savages with skills of the wilderness. They become more desperate over the course of the film, as if they are broken down. They way they treat their horses/ponies is not really as animals to respect but more as tools that can be disposed of. Practically seen as people you wouldn’t want to have dinner with. They are however seen as a people who can work together with only gestures, almost as if Ulzana is orchestrating his men from a distance which I can’t help but admire.
So to sum up as I explore The Searchers through other films I am building up a bigger picture of how it has influenced others films and the western genre. It’s clear that Edwards is a powerful and very human character that interests us even to this day. The role of the outsider and racist will always be a dangerous one. Lancaster doesn’t play that role, take cues from Peck, two trackers who are able to function, to take a step back from the other. Instead its given to the younger man Lt. Harry Garnett DeBuin who as much as he is eager to learn, he is being shaped in front of our eyes. This mission wont easily leave him, just as the 1956 classic will never leave me.
A classic western I have been meaning to see for quite sometime, part of Richard Slotkin’s lecture series on the genre which I first picked up during the last few months at art-school. It really started to broaden my mind as to what the genre was about, the history and starting to pull apart the myth. I’ve just about seen all the films on the list and this was one of the last ones still up there I couldn’t listen until I caught The Ox-Bow Incident (1943). You could say this was well overdue essential viewing for me.
Running at just over 70 minutes you can’t expect too much from the film. There’s not a lot of action on the screen. Beginning with a drunken Gil Carter (Henry Fonda) drowning his sorrows, all he has hoped for is gone, a drifter venting at the wrong time when there is more important things at hand. We see a town consumed by the news of a rancher who apparently has been killed by rustlers. Its angers the men of the ghost town that becomes more populated as the news spreads and a posse forms. All against the wishes of the oldest member of the town Arthur Davis (Harry Davenport) who is fighting a losing battle against the young men who after this emotive news allows the anger they feel grows. It has to be legal, to find the men who have left.
There’s an internal fight to do things right from the start, I couldn’t help but think ahead to 12 Angry Men (1957) as one man tries to convince the majority to change their minds. Reasonable doubts is something that doesn’t really exist in the west, or this film, its all black and white. Literally as it is here allowing you to hopefully see the greys in between what we see. The audience is left shouting at the screen as the men and single woman Jenny Grier (Jane Darwell) who is more man than woman, a mean match to any of the men who she rides with. Making Darwells part all the more engaging, more used to seeing a softer woman on-screen, the mother figure. All that is lost here as she is more masculine than some of the men.
Figures such as the Major Tetley (Frank Conroy) is a throwback to the confederacy, a man of principle and ashamed of his son, a coward unlike himself. Living on past glories to sustain himself. Influencing Jack Palance‘s Captain Quincey Whitmore in Chato’s Land (1972) wearing his uniform once more with pride as he hunts for the infamous Chato (Charles Bronson). It’s all about having one more chance at glory, to have a victory after the surrender. Also we have the preacher portrayed as an old and feeble, a judge fat and loud who gives into the demands of the posse who will leave at any time.
Once they leave the town, around 30 riders leave the back-lot for the sound-stage where the real drama and suspicion unfolds as the close in on the men they believe to have killed the much-loved rancher. A group of three men led by Donald Martin (Dana Andrews) who wants only to support his family. Is that not honorable enough? They are back into a corner as nooses are already being tied, horses positioned under a hanging tree. With little chance of interrogating they are fighting a losing battle reason against assumption.
The people’s trial before lynching takes place in the comfort of the sound studio which maybe a budgetary constraint with such a big cast, that makes the scenes all the more claustrophobic as these three men innocent or not are. I do have my doubts about Juan Martínez (Anthony Quinn) a Mexican with a colourful past. Our own prejudices are tested on-screen, is one of the group guilty and are they covering for one another. How can they with the sincerity of Martin who pleads to for reason, a fair trial, all the things they aren’t getting out there around their camp for their last night of life.
It’s a western of words and few actions which speak louder than any firing of a gun. Loud ones confused and angry deafening out those of quiet reason. You want to shout at the screen along with Fonda one of the few to stand up and speak his own mind as the night goes on. Teaching us not to be led by our assumptions and to not forget the systems in place by society to ensure we are all treated fairly. It could easily be applied to a racial killing today, as people easily turn against innocent muslims when act of terrorism’s committed. It’s easy to do when you’re blinded by anger and hate which can consume you, leaving you later on with guilt and remorse as the consequences of that night dawn upon them. The act of lynching is seen from below, probably a mechanism to get around censorship at the time, working better for dramatic purposes we know they are up there, would seeing them make it any better for us, even a boot off the top of the screen? The lack of bodies allows the audiences imagination to run wild, what have this posse done, how could they let it happen so fast. We all know why it did.
- Walter von Tilburg Clark’s Ox-Bow Incident & William Wellman’s film adaptation (ellenandjim.wordpress.com)
- The Ox-Bow Incident (1943) – Directed by William Wellman (filmsworthwatching.blogspot.co.uk)
- Reeling Backward: “The Ox-Bow Incident” (1943) (captaincritic.blogspot.co.uk)
- The Ox-Bow Incident (1943) (filmnomenon2.blogspot.co.uk)
- The Ox-Bow Incident (Fox, 1943) (jeffarnoldblog.blogspot.co.uk)
- The Ox-Bow Incident (1943) (catchingtheclassics.blogspot.co.uk)
- 100 Days, 100 Movies: The Ox-Bow Incident (1943) (flickchickcanada.blogspot.co.uk)
I’ve been looking out for this silent John Ford for a while now, one of those early epic Westerns that helped to define the language that I explore in my practice. It’s also a rare chance to see Ford’s work before he made a star out of John Wayne who he shall always be credited with. He’s nowhere to be seen in The Iron Horse (1924) which predates all the Westerns I have seen by a few years. I was lucky enough to catch the original directors cut that was not seen outside of the U.S. during its original run. I always try to go for the director’s cut of a film if it’s available as the directors intentions are then on the screen (that’s ignoring George Lucas).
Moving away from directorial choices and cuts of films to the meat of the film, the coming together of the East and the West of America, the progression of a nation. Laying down the foundations for the country to develop and prosper. I have seen the same basic story before with a much lighter tone attached, and running time slightly shorter too. That’s down to all the build-up and character development that Ford puts into the film so the running time is well deserved, not a meter of film is wasted really. As we know he never shot more than he needed, to ensure he got the picture that he wanted, not leaving anything to chance. He begins by adding a human story between a young boy and girl Miriam Marsh (Madge Bellamy) who at first I thought nothing of as the boy Davy Brandon leaves with his father to go Westward to begin to plan out a route for a transcontinental railroad. A bold journey that ends in heart for the boy when his father (James Gordon) who is killed by a two-fingered white Cheyenne who killed him to keep his secret from being revealed outside the nation he is now a part of. I can see even this early on in the depiction of the Native American, the lengths that are gone to in order to create the dark and dangerous image of the one-dimensional Native American, here a renegade white man, even more dangerous you might think, bringing together the ideas of two cultures.
Jumping forward a few years to during the Civil War we see Abraham Lincoln (Charles Edward Bull) sign a bill that allows work to begin on the transcontinental railroad, wanting to look beyond the present situation of the war, considering the peace in the future. The President’s depicted as almost god-like in his presence and screen-time. Even though limited to a few scenes his presence is felt through the rest of the film. Ford would later return to the 14th President with Henry Fonda in Young Mr. Lincoln (1939). There is otherwise no other mention of the war that is going on back East between the North and the South. Instead it’s about this milestone in American history, at the time of the making of the film less than a hundred years had passed since its initial completion as the Continental and Union Pacific railroad companies laid the track that would eventually meet.
All this plays as backdrop to the drama that unfolds within the Union Pacific as they move Westward. We see all aspects of construction, from planning the laying of track to how to get around the country whilst still keeping under budget. We see all the classic clichés we take for granted from the striking work force after receiving no pay for months, to warring Cheyenne who are a constant threat as their land is being divided up before their eyes, the Buffalo population begin to diminish at the hands of the likes of Buffalo Bill (George Waggner). As I have found before with Ford his films are nothing without the rich mix of people that fill them, from the Italian ex-soldiers to the Chinese workers. He knows what America is built upon, a mixed immigrant population that made the country he loves great which he celebrates here. It’s not just Cowboys who have a score to settle.
The main drama is between Davy and Miriam who after spending years apart are now reunited, the childhood sweethearts may have a second chance. Before having to deal with her finance Jesson (Cyril Chadwick) the villain of the film tries to get him out of the picture. It’s really not as straightforward as Hollywood romance is today or even in the golden age, there is a price to pay before they can be together. Amongst the history there’s room for a little melodrama with Ford who keeps it to a minimum as we have a lot to look at and take in.
Overall for of silent John Ford film I have not been let down, sadly there was no Harry Carey to be seen but we did have an okish replacement with George O’Brien as the older Davy Brandon who comes into the picture in the second act. We have the roots of the genre here, not all of them but a strong part of the foundation of what I love today. History beginning to be re-written on the screen. With all sorts of historical characters making an appearance, this is American folklore for the 20th century told in sweeping form.
- John Ford, The Iron Horse (1924) (buddiesinthesaddle.blogspot.co.uk)
- The Iron Horse (1924) (silent-volume.blogspot.co.uk)
- Finding Ford / The Iron Horse (1924) (wondersinthedark.wordpress.com)
- The Iron Horse (1924) (forgottenclassicsofyesteryear.blogspot.co.uk)
- Kept a rollin’… The Iron Horse (1924) (ithankyouarthur.blogspot.co.uk)
- John Ford/The Iron Horse (Fox, 1924) (jeffarnoldblog.blogspot.co.uk)
- Silent Sundays: The Iron Horse (1924) (unecinephile.blogspot.co.uk)
I remember seeing My Darling Clementine (1946) very early on when I started to watch all these classic films which now inform my work. I wasn’t aware at all of what this film was really about. Seeing a man come into town taking the marshals job to ensure that he could seek out revenge for his brothers murder. It’s only with the passing of time, and seeing more film adaptations of the infamous gunfight at the O.K. Corral that I can see a lineage going on here, as new information is found new films are made. Different directors give their spin to the events, John Sturges gave us two interpretations Gunfight at the O.K. Corral (1957) and The Hour of the Gun (1957) which expanded vasty on the events that we all know of. Here however in the events are told from the true perspective of Wyatt Earp who once met John Ford who’s version stands heads above the others I have seen, telling him how the shoot-out actually happened, making the audience wait until the end.
The build up is really non-existent as we drift from scene to scene, even over the short running time of the film, a lot actually takes places, from the very start we are introduced to the Earp brothers who are not as we expect them, out in the open country with cattle it feels out of place, yet strangely not, they just are. We are introduced to the Clanton’s lead by Walter Brennan who fitted easily from role good to bad guy with ease. Whilst Henry Fonda personifies the up standing Marshall Wyatt Earp who reluctantly takes on his old job in Tombstone to give him licence to avenge his brother James’s death. His remaining brothers follow.
Tombstone is not the classic boom-town that we know from later films, located once more in Monument Valley a location that becomes John Ford country in years to come. Photographed as a mythical land where these events take place, creating instead a small town in the middle of nowhere, far away from civilisation which is creeping up on the people of the town. Lit as a classic film and heavy lighting you could easily mistake it for a film-noir or one of Ford’s earlier films such as The Informer (1935) in the streets of Ireland. The lack of music is eerie at times, whilst other times you hardly notice it, swept away by the people who inhabit this small town.
The main characters of course are all there, from Doc Holliday (Victor Mature) taking on a more adversarial role, competing to enforce the law, whilst still suffering from tuberculosis. All of the Earp and Clanton brothers are present, with the addition of two women who create tension for the two lead men as they try and see eye to eye. Is this the truth or just a Fordian touch to the legend?
It’s classic Ford at his best, writing his own passages of American legend that easily tips into fiction into facts with a sense of grandeur with the lightest of touches. We can see a love for the open country and the people who helped shape it. Defined here by the stars of the day who were seen as god like figures who graced the screens. With breathtaking scenery and by chance shots of the sky that encapsulate everything that Ford is known for. This is what I missed the first time around with this film, all the little touches from the first shot of Earp/Fonda from below, a historical figure and hero of a not so distant past. Complete with the homely touches of the Ford Stock Company who becoming like a travelling band of actors who bring to life the ideas and visions of Ford. I love the director more now than I did a day ago.
Ever since the reviews came out for this film, telling me that it wasn’t funny etc I was cautious from then on in. Being a Family Guy fan I had to see this, knowing that I would get the humour that was in A Million Ways to Die in the West (2014). Sadly I was let down after seeing Ted (2012) that really scored high on comedy. Here the jokes felt too forced and unnatural. Of course the context being that shepherd Albert (Seth MacFarlane) was born out of his time, he is just too aware of the world around him. Going onto basically tear apart a genre and a time in his own countries history, he doesn’t even know that he’s doing it which is even worse. Wasn’t it brave people who went out into dangerous unexplored country, wanting to make a better life at any cost. Walking all over it for comedy value which is even worse. It’s a clever idea to comment on how dangerous living in the frontier but the joke runs sour after half an hour. Needing to keep things fresh which he does it to a point which he sticks with throughout and never lets up.
In keeping with western lore the shepherd is seen as pathetic and weak, not going for the stronger more respected cattle farming. Made even worse he gets his way out of most dangerous situations. Instead of standing up like a man of the frontier and having some courage. Something which does grow as the film progresses. He rightly looses his girlfriend Louise (Amanda Seyfried) after seeing him weasel out of a gunfight. For a man living in the west he’s just plain “Yella” even simulating a fight to avoid getting hurt.
Things don’t really move on from the comical deaths in the street which I’ve seen all in the trailer a million times until Liam Neeson‘s (Clinch) is brought in with his gang, we are back on some track to having an entertaining western when a prospector is held up. His wife Anna (Charlize Theron) is told to wait in Albert’s town for a while. The woman with a conscience, throughly modern for her time yet not to the extreme of Albert who is going on 21st century. Catching him in the nick of time to train him to handle a gun. Reminding me of the gunfighter/mentor relationship between Henry Fonda‘s Morgan ‘Morg’ Hickman and Anthony Perkins Sheriff Ben Owens in The Tin Star (1957) which took a man who wanted to be strong and gave him the confidence to handle his gun a necessary tool in enforcing the law. Here it’s embarrassing for a man in the west to be taught by a woman to be strong. Shouldn’t it be the other way around in the west?
There are some good points to be find in this film. The landscape of Monument Valley was beautifully capture at sunrise and sunset, the magic of that location is something you can’t loose in any western. The musical sequences are to be expected from MacFarlane who is always giving his best, singing or not. When we are away from the obvious dangerous of the West there are some half decent jokes, whilst others are very questionable.
It’s not Macfarlane’s best work, spreading himself too thin these days with not just the animated comedies, (you can see why The Cleveland Show is doing so badly). He is reviving The Flintstones and thats just what I can think of the top of my head. You can see he’s not really comfortable in the lead role, something that should have been given to Theron and switched the perspectives which may have improved the flow of the film. It’s also part autobiographical, after reading an interview Macfarlane mentioned his lack of success with women because he is too nice, maybe this is an attempt to say that he can improve, become less of a nice guy with a chip on his shoulder. But that doesn’t mean take on all the big roles to make a film, from, directing, producing, writing and starring in the lead role. This would have made a nice comedy series or a short one-off comedy there is something in there, if only he hadn’t spread himself so thin. I know other directors can take on all these responsibilities and still give great performances. Yet there is a point where you compromise what you are doing. In either role he would have his name on it, just choose more wisely. Hopefully Ted 2 when the lawsuits are cleared up will be a return to form?