It feels like there’s been a string a middling Westerns in the past few years, that’s not mentioning the disappointing remake of The Magnificent Seven (2016). Both Jane Got a Gun (2015) and The Keeping Room (2014) that attempted to rebalance the role of women in the genre failed on the basis that they just plain boring. I’m all for increasing the role of women in the genre but it has to still be entertaining, to be engaged in what they are dealing with. Jane Got a Gun had no real focus, whilst The Keeping Room was too grim. The more male dominated entries in recent years have had slightly more success; The Revenant (2015) delivered a revenge thriller in the wilderness of the mountains, whilst we had a blind teenage romance in Slow West (2015) that audiences can more easily relate too. Whilst The Salvation (2014) was a return to the classic form with a European sensibility that had a real bite.
The latest entry in the genre – The Sisters Brothers (2018) felt the other night like my generations The Missouri Breaks (1976) but not so weird that I had to sit back and wonder what the hell was going on. For one we didn’t have any camp acting and there was no strange romantic pursuit to worry about. Instead we shift between the titular brothers; Eli and Charlie (John C. Reilly and Joaquin Phoenix) who’ve been contracted to meet up with investigator John Morris (Jake Gyllenhaal) who himself is in pursuit of Hermann Kermit Warm (Riz Ahmed). The jumping back to and fro between the two pairs takes up the first two acts oft the film, allowing you to settle into what is a gentle dynamic.
The Sisters Brothers we learn are sibling gunfighters who we learn have somehow survived life so far by little more than luck on their sides. They are able to outgun the enemy by pure chance whilst in the process destroying what the essentially need. As we see in the opening minutes, a classic gunfight surrounding a homestead that somehow leads to a barn setting fire and killing most of the horses inside. This isn’t how The Duke would have done things in Rio Bravo (1959) even when he shot dynamite in the final gunfight. There’s little planning to the Sisters who will load up and go into battle day or night. They would have probably made good soldiers in the opening minutes of a Civil War battle, unafraid of the danger that lat ahead of them. We laugh at the clear flaws in their ability to win out, they are men just trying but failing at times.
Sent on what is to become their final mission by the elusive Commodore (Rutger Hauer) putting the younger alcoholic brother Charlie in charge, hoping for a better result. Aiming to secure The Commodore’s superiority during the gold rush – a time in the genre that hast more recently been overlooked. We learn their major differences in the two brothers who may share a legacy and a status that precedes them. Charlie the more impulsive assertive alcoholic who wants to prove himself, whilst Eli is curious of the future, what modernity can do for him. Taking the time to plan his future. These are differences very important as they both continually pull them apart and push them together. It leaves Eli with a “middling” horse that we’re concerned about throughout. When we switch to Morris and Warm the tone becomes more intelligent, the conversation changes to reflect this. There’s a chance to breathe and understand what’s being discussed. Morris an Easterner who wanted to come out West for adventure soon finds his equal in Warm whose supposed to follow from a distance. Their ideas of modernity bring them ever closer together.
Through letters left by Morris to the brothers they mock the language of the more educated man who communicates his position. It’s a resistance to change and understanding that for a while keeps them a part. Tonally this doesn’t quite come off so well onscreen, it makes them look ignorant and the leads in the film the butt of the jokes and the film itself. As much as you want to root for these underachievers in life we become more concerned with what’s going on further away from them, when they finally meet and what they will discover.
Despite the uneven tone of humour and language we’re transported to a beautifully drawn image of the Wild West. Shot in multiple locations, you can see a lot of money went into the budget. And looking at how may production companies are involved (literally filling the screen) you can see the director Jacques Audiard has to prove himself worthy in his first English language film. Going from town to town which each look unique. San Francisco is the stand-out set piece that just shows where all the money’s spent. The devil is in the detail for this clear labour of love.
The final act is by far the most interesting, when they all come together in the pursuit of gold, almost becoming The Treasure of the Sierra Madre (1948) when the lust for gold takes over with a new chemical driven techniques being employed to reveal gold in the water. The idea of speeding up the process of testing and digging for gold is thrown out in favour of an untested method. The consequences if which are not fully known or appreciated. Is this a Western with an ecological conscience, coming out of nowhere we’re shown how the lust for gold can destroy the natural world around us in the pursuit of greed. It’s the saving grace of the film, the fallout of this process complete alters the fortunes for all involved.
This isn’t really my Missouri Breaks, it’s a confused but original Western with a conscience that tries to do a lot in it’s running time. It does a good job but maybe needed a little more time to breathe. We have characters that are fully realised. Westerners vs Easterners in a changing world, set during a time of the gold-rush when the country began to change completely. The Sisters Brothers takes on a lot and does it’s best to balance it all but ultimately a flawed Western that tries honourably to bring something new to the genre.
Another film I’ve been putting off watching, I overlooked it at the time of release as I really wasn’t interested in You Were Neve Really Here (2017). Since then I’ve been slowly won over and wanted to track down the film, learning it was another Taxi Driver (1976), which in essence is The Searchers (1956). So once again I will be delving into how this film responds to the classic Western. It’s a chance to explore how the film has again influenced modern cinema. Of course on the surface it has far more in common with Martin Scorsese’s film than John Ford‘s original. The classic tale of the tortured male loner taking on the task of rescuing a young woman from the clutches of a sex-slavery i Cincinnati. I wonder is Travis Bickle (Robert De Niro) still drives the murky streets still, had he come into contact with Joe (Joaquin Phoenix) or would that have been too explosive for a single film to handle.
It’s doesn’t stray far from John Wayne‘s Ethan Edward’s epic mission across untamed Native American country in search of his nieces. Filled with an uncontrollable racial hatred for the Comanches and possibly other nations who have done him wrong before we first meet him. We don’t learn of his past, or even Bickle’s we’re just allowed to spend a short time with them. Lynne Ramsay‘s allowed us understand Joe’s past in a series of fractured flashbacks that hint an unstable domestic upbringing and time in the army. It’s been explored before with Travis Henderson (Harry Dean Stanton) who was far more reflexive about his past, Wim Wenders gave us the time to explore just how he’s in his position now, a father who couldn’t face the break up of a passionate relationship, which ultimately was his own fault in Paris Texas (1984). Travis is singularly unique, a disturbed man shaped by his surroundings, unable to connect with the outside world that deeply troubles him. An explorer of an urban jungle that holds him hostage.
Joe is very much a product of his child hood and military service that have shaped the beaten shell of a man who works as a hired gun. He doesn’t shy away from how he makes his living, it defines him, just about the only job he can get, allowing him to function and support his mum. We first meet him at the end of a job, clearing up the evidence that could lead back to him. You can he’s done this many times before, it’s just part of the job. His face is obscured during this time, for now he’s just an unknown dangerous man cleaning up yet another mess with precision that he has honed overtime. This is not the have-a-go hero of Taxi Driver or the ex-Confederate soldier, we have a trained killer on yet another job, not a man to be messed about.
We learn he has something of a soft-side when he returns home to his mother (Judith Roberts) who he shares a love-hate relationship with, the only woman or even person who really loves him. The closest to violence he get’s with her is a joke about Psycho (1960), could that even be an influence on him. The stay at home son with his mother who stays about of obligation more than love.
The rescue mission comes pretty early on in this fairly compact film, his next job at the request of Senato Albert Votto (Alex Manette) who employs him to rescue his young daughter Nina (Ekaterina Samsonov), whom he believes has been kidnapped and placed into a sex-slavery. Unlike Ethan Edwards and Travis Bickle he has no prior relationship with the girl whose to be rescued, he only sees her as part of another job. Before he begin we see him stock up on fresh tools for the job, including a hammer that we know already is his weapon of choice that can inflict brutal damage to his victims, no one stands a chance against him.
As with Taxi Driver he waits until night before he even rolls up outside the address, he’s dangerously cool and calm about all this, dragging over a guy who works, torturing him for information, the bare-essentials to get in, the dangers that lie ahead for him. It’s a cleaner rescue than I expected, restrained by the view of CCTV cameras that only suggest what has happened to the bodyguards who fall to their deaths. It’s over before we know it, our main concern is finding the girl, which again happens rather fast. The young girl – Nina is clearly in state of desensitisation, to escape the daily abuse she receives from the monsters who pay for her. Gone is the confident nonchalance of Jodie Foster’s Iris who has find an exterior shell to survive the murky world of prostitution she’s trapped in. Mirroring the assimilation that Debbie Edwards (Natalie Wood) whilst living with the Comanche. Never Really Here is more aware of the psychological damage that a kidnapping and slavery can do to the mind. The realisation of being rescued doesn’t quite hit Nina for sometime.
Everything then starts to go wrong for Joe as he soon loses the girl and ends up a world that all he knew and understood is being taken away from him. The closet he got to purity is taken away by corrupt cops who take Nina away, leading him into a trap that closes ever tighter into his inner circle and even his mother. The hard exterior of the hired gun begins to show signs of cracking. Before we see an even darker side when interrogates one of his mothers killers (Scott Price) sadistically numbing his pain to get information from him before he finally dies. It’s a form of unique justice that allows him to move on in search of Nina and understand what he’s become embroiled in.
It’s far more complicated than the standard search and rescue narrative that Ford laid out over 50 years ago, becoming something more complicated with each retelling of the basic plot. Stripping away the racial hatred to leave a hardened killer who has many dents in his armour, both physical and mental. We’re left a darker of corruption with a glimmer of hope for Joe and Nina, each products of their fractured lives, leaving to start a life together where they might be able to start over. All they have known has been destroyed either by their own hands or in their wake. It’s a bleak disturbing world where even beauty has a dark side. Never Really Here is by far one of the bleakest interpretations of The Searchers, having evolved into a the Western that it could have been. I wonder if a director has the courage to deliver something so disturbing to the screen?
Just over a year ago I watched the first Young Guns (1988) which I found to be an interesting film. I was entertained by this take on the Lincoln County wars, emphasising the role of Billy the Kid around the cattle barons war. I left the article wanting to seek out the sequel (purely out of curiosity mainly) completing the characters journey. Below is my original review followed by my thoughts on the sequel.
Another western that I thought I’d never really watch or review. I do remember hearing some enthusiasm for the film at art-school, but thought little of it, wanting to explore the classics of the genre more at the time, which to a large extent I have since achieved, now I’ve got a few to revisit. I have since considered catching Young Guns (1988) not really knowing much about the film beyond it looking like a chance to refresh the genre, which was beginning to happen during this period such as Silverado (1985) and Pale Rider (1985) at least Clint Eastwood could be relied upon to deliver. I also saw this as a spin on The Magnificent Seven (1960) formula, bring together a group of gunfighters and send them out to save the day, which isn’t far off what happened, just without the pathos or myth-making magic which it achieved.
What’s achieved is my curiosity being pricked up, which is all you need sometimes to engage with a film. First I was drawn to the late 1980’s music video aesthetic, it was clearly aimed at a young audience who had no real interest in the genre, something for older generations who grew up during its hey-day. During this period there are glimmers of something special coming through. Another point was having the other Martin Sheen son as the lead, as Emilio Estevez was already established in film, compared to the more prominent Charlie Sheen whose actually written out of the film at around the half-way point, which also shows as how much hated being on a horse, staying long enough to get a starring credit and a paycheck.
Looking further a stronger historical connection that I found, helping when I realised that it depicted both Billy the Kid – William H. Boney and L.G.Murphy, who both appeared in Chisum (1970), skewed more for John Wayne‘s lead character during the Lincoln County War (1877-8) one of the many cattle wars of the period. The same events basically unfold but from a more relatable point of view – the young men who knew John Tunstall whose killing, that originally started the war. Instead of Chisum who was rightly worried about Murphy’s increasing ownership in Lincoln County. He’s nowhere to be seen or heard in Young Guns which is either a poor choice historically, or consciously written out to focus on those directly effected by the shooting. Having too many characters to focus on would make it a broader less engaging film.
With such a young cast who had yet to really make a mark in film it allows these six actors (ignoring Estevez) into careers of some longevity, which did happen for Keifer Sutherland, son of Donald Sutherland, which probably helped during casting. The rest of the cast I can’t say I have really seen before this film. A 50% success rate is still good going though. Placing them in this MTV-esque Western which works in some places and not in others. The music video feel of the film really has dated, the soundtrack really doesn’t work today, it attempt to set the tone but feels out-of-place, it’s neither nostalgic or dramatic, with time it’s just been lost. The casting of Terrance Stamp as John Tunstall just doesn’t work for me. Playing the “Englishman” which is over emphasised at times is really unnecessary for the audience. It’s trying to pit Englishman against Irishmen which really is just circumstance to me, just drop the point and move on. Also Stamp looks very out of place, just delivering his lines without looking awkward on-screen. I think he’s glad he was killed off after 20 minutes. He obviously leave a mark on the men – The Regulators, who start off to war.
Turning to The Regulators as characters themselves who are fully fleshed people who you can engage with. With the emphasis on Billy the Kid the assumed leader post Tunstall’s death, the historical figure that most in the audience would have heard of compared to the cattlemen who are known to those interested in history. For me it comes from reading beyond the films. As a character himself he owns the film and Estevez owns the role, really having fun, making his mark on the role whose being done justice. Looking to Charlie Sheen’s Richard ‘Dick’ Brewer who probably seen as the winger of the group who pushes everyone further before he’s killed off. Two of the Gun’s Josiah Gordon ‘Doc’ Scurlock and Charles ‘Charley’ Bowdre (Kiefer Sutherland and Casey Siemaszko) are given the love interests which don’t take over from the main plot, if anything they make them richer characters, they have more to lose as they reach the finale. I must also touch on the Navajo character ‘Jose’ Chavez y Chavez (Lou Diamond Phillips) whose half Mexican, whose allowed screen-time to discuss the American Holocaust, specifically the massacre at Sand Creek Reservation (1864), despite the fact that he would never have been there, as he wasn’t Cheyenne or Arapaho. Showing how Native American past can be recycled and jumbled to suit a script.
Young Guns reminded me of other super groups in the genre which brought together the best of the best in their fields, or even misfits such as The Professionals (1966), The Wild Bunch (1969) up to Silverado. Guns joins that long line of super groups toting guns. Long before the Avengers and DC universe films that bring together superheroes. Except everyone gets on and they have already met, cutting out a lot of exposition allowing for us to get on with the plot and see this group of young men just get on with it.
Historically I was vaguely aware of Billy the Kid’s involvement in the Lincoln County War, afterwards I feel a little more informed and refreshed, there’s more to it then the side we see. It’s small event of a much bigger, dirty, violent history, also adding the myth of the West that has been reshaped by cinema. There are a few nods to the fabric of the genre, Patrick Wayne – son of The Duke takes on the role of Pat Garrett, to Jack Palance as Murphy which you can see he’s enjoying far more than Stamp was. It’s not the strongest of films for a number of reasons which I’ve discussed, however it is fun, engaging with filled with action, you’re supporting the young men as they fight for what is right which makes up what is lacking at times. A product of its time which you can forgive its many flaws leaving me wanting to catch the sequel now.
If I’m honest I’ve been having mixed feelings leading up to watching Young Guns II (Blaze of Glory) (1990) which brought back the remaining members of the Lincoln County regulators. Partly recast and rewriting the history in a mish-mash fashion to suit a theory that Billy the Kid survived into the 1940’s. At first I thought what the hell was going on here, a rider reaches a road, is this a cross with time travel or what? My next thought was is this going to be another Little Big Man (1970) that was recounted via the oldest living Native American. Or even a Blackthorn where we find Butch Cassidy (Sam Shepard) living a new life in self imposed exile. Instead this is based on an account that saw a Bushy Bill attempt to prove he was William H Bonney fighting for his pardon by the governor of New Mexico. It was later dismissed and thrown out of court.
This is the direction we were going down, at first it threw me, why are we doing this, why not just carry on where we left off. Was this an attempt to stamp a definite mark on the screen legend of the Kid, which is not a bad thing. Coming at the audience with a curveball, the obscurity curio as a basis for a film that I already scratching my head at. I knew this was another retelling of the final days of the Kid for another generation. For me that will always be Pat Garrett & Billy the Kid (1973) which personally is the definitive version. Guns II director Geoff Murphy even went as far as clearly replicating some shots from Peckinpah, thankfully it’s just a few from The Wild Bunch. Never the less it shows a lack of originality to produce a clear personal vision instead of relying on a flawed master of the genre’s past.
A massive flaw is that the film goes as far as rewriting the past for Pat Garret who previously appeared in the original, now we see him portrayed by William Petersen a younger actor, compared to the older Patrick Wayne. As much as these films take place in the same landscape, they see the events as very separate. Was the inclusion of the older Garrett which felt like a cameo when he wasn’t even a sheriff during the Lincoln County War or around during those times. He was a friend of the Kid and even a mentor for a time. All of this is washed away for a confused cameo before being rewritten as a villain of the this confused sequel.
I can’t help but compare Guns II to Pat Garret and Billy the Kid it would be impossible to separate the two. At times they do draw strong similarities. However the main difference is that the two films have very different points of view. Just looking at the titles of the films, Pat Garrett is filled with mixed feelings in 1973, wanting to do the job for money and power, yet knowing that he’s hunting down and killing an old friend of his. The kid is always seen being a cocky and confident, able to shoot and talk his way out of trouble. Nothing much changes there in Guns II as he rescues his friends before riding on down to “Old Mexico” where they hope to hide out. Whilst Garret is practically bribed into taking on the job and changing his personality over the course of one scene, there’s no time given to his decision it just a shocking reveal that left me confused.
The time we spend with the guns is worthwhile as we catch up Doc (Sutherland) and ‘Jose’ Chavez y Chavez (Lou Diamond Phillips) who have taken different paths. It’s tries to be a young mans films, with new faces with the Kids mirror image – Arkansas Dave Rudabaugh (Christian Slater) who buts heads with him all the time. Whilst farmer Hendry French (Alan Ruck ) and Easterner Tom O’Folliard (Balthazar Getty) wants a taste of gunfighter life. Both really unaware of all that entails. Eventually they all saddle up and ride on as Garrett and his men (not him riding on his own as 1973’s film showed him on a personal mission). The film aims to be bigger, more action filled than Peckinpah’s laconic version. Ultimately its a follow up to a bold and successful action film for the new MTV generation with a set of actors who are making a mark on Hollywood. Unlike the old timers in 1973. This is a sequel that’s riding high on the hopes of the first for better returns at the box office. It wasn’t even saved by a nodding cameo from James Coburn who gave his best in a role the small role.
For me it fails miserably. Knowing about the historical figures depicted in the two films now being so confused and coming from a strange angle really doesn’t help the legend, it hinders it, with a put on “old man” voice and heavy make-up. If anything it’s an all for one, one for all tale that sees friends fight it out to the end in the West as the had done previously but with not so much satisfaction. The weight of history didn’t even get in the way for the makers, instead they screw it over and hope that we’ll buy into. Frankly I’m considering a refund.
After enjoying the process of reviewing 3 films previously I’m carrying on with another Western trilogy, this time John Ford’s Cavalry Trilogy, a chance to return to three classic films that I haven’t viewed properly in a long time. During which I have read up on how they function together and what they discuss singularly and together as a whole. Beginning chronologically with Fort Apache (1948) which I remember mostly for sewing the seeds for Ford’s later film The Man Who Shot Liberty Valance (1962) which I’ll come to later as I explore the first third of the trilogy.
In my opinion the trilogy is strongest at its start and end, with a weak middle with She Wore a Yellow Ribbon (1949), my view may change after another watch. For now having seen Fort Apache (1948) I can clearly see that Ford know’s his American history, focusing this film at least during the Indian Wars just as during the time of production the Korean War only a few years from breaking out in the early 1950’s. Taking Custer’s famous Seventh Cavalry, renamed Fort Apache under the command of Lt. Col. Owen Thursday (Henry Fonda) whose at the opening of the film is making his way to begin his tenure there. In a stagecoach with his daughter Philadelphia (Shirley Temple). He’s not shy in expressing his frustration in his new posting in the wilderness, practically sent into oblivion to put him out-of-the-way for reasons we will soon begin to understand. A man whose world’s built on social order and the structure that comes with it, he’s a man easily ruffled. Whilst his daughters ready for adventure with her farther out in the frontier. We don’t even reach the Fort before we meet freshly graduated 2nd Lt. Michael Shannon O’Rourke (John Agar) awaiting an escort to the Fort. The first of many social insults for Thursday to endure, his presence is unknown to the sergeants who’ve arrived due to the broken cable. Also unaware of Philadelphia’s growing attraction to the Lt.
Fort Apache is again filled with actors from Ford’s stock company creating for the audience a welcome set of faces on the screen. From Ward Bond to Victor McLaglen, who are not just used for comic relief, they become integral to understanding the structure of the world that Thursday is exploring and trying to take control of. As much as John Wayne is given top billing with Fonda owns this film, the ideas are all liked back to him, his actions affect the plot and all those around him. Whilst Wayne’s Captain Kirby York takes the brunt of it he does help to ground the film and sell it to the general public, not that takes much effort, his own star power rising over the past decade since Ford rescued him from the world of B-movies.
Turning to life of the Fort we have two worlds, one of domesticity and one of the soldier, the two can co-exist but following a set of precise set of rules that Thursday is constantly fighting. Coming from another class he’s a gentlemen of West Point training and high society etiquette, each with their own set of rules that are meant to exist in perfect sync. Whilst the reality of domestic life on the frontier which adapts to the Army fort it can work. Lead by Mrs. Mary O’Rourke (Irene Rich) who sees knows she and other women have little place outside, take over the home, once crossing that boundary a soldier must follow another set of rules and regulations. First meeting them all at a dance with the other men, Thursday’s taken aback by the perceived lack of discipline, so swept up in his own arrival he forgets it’s George Washington Day 18th February, reminded by one of the only men who has the confidence to talk back to him – York.
Another strong example of this clash of worlds is when Thursday wants to escort his daughter back home, on learning that she has left to visit Lt. O’Rourke, the man the family and the audience know to be who she will marry. Thursday doesn’t see the young O’Rourke to be suitable to marry due to his social position, despite his West Point training, even through presidential approval, it’s not enough that the highest power in the land can afford a man to go up a class in society. It can’t be earned, it’s a birthright in the eyes of Thursday. There’s no problem for the rest of the family, who also see that his uniform is practically meaningless under the private residence of the O’Rourke’s, nearly causing an argument.
I now want to look at that seed that was sewn for Liberty Valance, the line “When the legend becomes fact, print the legend”. After what we hoped would be a peaceful resolution between the United States government and the Apache. York’s meeting with Cochise’s thought to be enough for them to return to the reservation and get changes underway. The racism in Thursday prevents the talk of peace going any further than the crossing of the border, when he can lead a charge to kill the renegade Apache, solving yet another issue of the never-ending Indian problem. By this point I had forgotten that we see them all ride off into battle and all but fall under a 4 to 1 massacre. Not just an underestimation of the enemy, a complete disregard of cultural differences and promises previously made to ensure their return.
It’s not a pleasant sight to see, all those men we have come to know and love, ride off into the vast emptiness of Monument Valley to face a death that could’ve been avoided. The recording of that battle is not what we would have hoped but does ensure that the legacy of an officer’s maintained and also that of the Fort and ultimately the Army. York makes the bold decision in his report, not seen on camera to be complicit in the lie that must be maintained for a better history and that of the West to be told. Helping build the morale of the country, something which has been done which each conflict that the United States has entered, rewriting the events to convey a myth that can be shared for generations. Essential to the American story, when the facts don’t fit the legend why bother. With all the images, paintings and social impact of Thursday supposed sacrifice on the battlefield, he has become a hero just by fighting with his boots on, it doesn’t matter what lead him there. York knows that he can’t fight that, it’s bigger than him, bigger any man in the uniform.
Ford knows the power of the story telling and the American story that he’s help to shape into the cinematic form that has become its own legend and part of the greater myth of the West. I’m still not looking forward to Yellow Ribbon, even with the drunken scenes, I just can’t see how it will even come close to the complexity of the Apache that dives head first into the fabric of the genre.
My fears for what I thought would be a string of comic events was all but washed away coming away from She Wore a Yellow Ribbon (1949) the middle piece of the Cavalry trilogy. I could see why I saw this as potentially being the weaker of the three. Yellow Ribbon acts as a celebration of the Cavalry. Opening with narration over the vastness of Monument Valley in beautiful Technicolor. Ford is very much home in the desert landscape that stretches for what seems like a limitless distance. His playground to get out his actors and re-enact his countries past.
Taking his cue once more from Custer, who this times named to have fallen after The Battle of Little Bighorn (1976), a major blow for both the U.S. Army and the country during its long campaign to see the Native Americans rounded up onto reservations. The treatment of the nations is the complete opposite of Fort Apache. No longer are they respected or feared for the damage they can do. Now they are a nuisance that must be resolved. We’re told that a number of plains tribes have put aside old rivalries to come together to fight the army that’s trying to pen them into land they aren’t interested in. The failure of Little BigHorn really hurts, any future defeats aren’t allowed.
Yellow Ribbon is not so much concerned with legacy as it is with the history that it hopes to make. Instead there’s a focus on the people who populate the unnamed fort where we Captain Nathan Brittles (Wayne) is 5 days away from retirement. He’s not so much concerned with what he is leaving behind but the future he’s going off to. With the focus of the film being his last patrol of the area before his retirement. Before he heads out we get to learn about his relationship with the men. First what is a long-standing friendship with Top Sgt. Quincannon (McLaghlen), you get the feeling they go back a long way. However it’s his time with both Lt. Flint Cohill (Agar again) and Second Lt. Ross Pennell (Harry Carey Jr.) new to the Ford Stock Company) who themselves are fighting for the affections of the only eligible woman on the fort – Olivia Dandridge (Joanne Dru). The chemistry between the three makes for some great scenes, not so much sexual tension. It’s a charming fight between two young men for a woman whose far maturer than both. It’s also the origin of the film’s title, a fictional tradition that neatly ties into the richness of the film. A symbol of a woman showing her affection for a soldier. Matching the yellow handkerchief that was once part of the standard uniform until 1872 (four years before the film’s set). Ford takes creative licence along with the strong influence of Frederic Remington’s depiction of the accessory, that evokes a certain romanticism of the army that has carried through the classic cycle of the Western.
“Never apologise, It’s a sign of weakness” another layer of masculine code that is laid down by The Duke, part of his image that defined his on-screen persona. Something that many men have tried to live up to during his life-time. Today however the idea of never apologising is both laughable and disturbing, that in itself is a strength in modern man. As a male myself I believe that the ability to own up to your faults or errors shows a sign of great strength. To understand you’re in the wrong and admitted is today respect, that way you can build on itself and grow as an individual. A sure sign that the image of man as defined by the duke is slowly being chipped away, becoming something of a dinosaur. Just saying that is depressing, however a raised awareness mental health in men shows that you have to understand and be in touch with your feelings instead of hiding behind a persona of a masculine mystique that can trap a man down the route of potential depression and even suicide. Looking at Wayne’s image of a man I can only take so much of it use for myself, mostly a sense of confidence and the ability to not take yourself so seriously, which he did much later in his life.
Whilst life on the fort is very pleasant, there’s a time for regulations and a time to relax and understand there’s more to life than the uniform. It’s out in the open that we see the cavalry showing what they’re made of. Out on patrol, with the addition of two women – the major’s wife Abby Allshard (Mildred Natwick) and Olivia Dandridge in female uniform and riding side-saddle. One complains of the rotating between riding and walking, whilst the older has had no stability in the last ten years. Both being escorted to a stagecoach to be taken East and away from very real dangers out in the open. The women reflect the negative side of a military life, one more from marital experience, whilst the younger is more frustrated.
Action finally gets underway each time we encounter either Apache, Southern Cheyenne etc, as much as they are pretty much faceless and nameless, they are ever present in the environment. From the cliched yells as they ride into battle to the broken English, building on the image that Ford had a hand in creating for the Native American on film. When not on-screen the patrol’s one of character and discipline, set against the backdrop of Monument Valley from butte to butte we traverse the desert for what feels like forever, I wouldn’t mind that in a Ford film any day. The riding reminds us that we are away from the security of the fort, open the elements and dangers of the open West.
Yellow Ribbon is very much a celebration of the cavalry, we didn’t have time for that in Fort Apache looked at the legacy of campaigns and the wider history that’s written. Yellow Ribbon looks more closely at the people who are in the uniform, mostly of Brittles wise old captain who has seen his share of warfare on the frontier. Wayne gives one of his best performances, something that Ford had a knack of doing on countless collaborations, maybe it was all the goading on set that forced him to give his best, or knowing that this man-made him who he was so owed him his best. Now I look forward to Rio Grande (1950) with a renewed excitement, knowing that the trilogy is a solid set of films that are all very different, showing varying sides of a history that was repeated and reflected during the production of the three films.
I’ve been itching to catch Rio Grande (1950) completing the cavalry trilogy, which came out of a contractual obligation with Republic studio. Ford wanting to make his pet project The Quiet Man (1952) was allowed to be made on the provision that he make another Western first. The director not one to just make a slap-dash film gave this final cavalry outing the time it deserved. Falling back on the character of Kirby Yorke now a colonel and posted out to Fort Rio Grande on the Texas/Mexican border we find the man who was once ensuring that the legacy of another senior officer remain in-tact. Here he has concerns of his own past that are brought to light. Grande focuses on the York family in particular. Noted as the first of 5 films they would make together, a pairing that worked very well on-screen. The only woman who could truly hold her own in front of The Duke, and one that he found to be his favourite too.
Tonaly looking back at Yellow Ribbon there’s a real shift from celebration of the uniform to that of reflection of what life in the uniform can be like. The consequences of past action or military engagements, how they effect those around you on a personal level, pretty deep stuff for a Western of this period. There’s also a return to the beautiful black and white cinematography, connecting it back to the world of Fort Apache where we last found York, Allowing us to focus on the action and drama without the distraction of colour.
From the opening dialogue free scene we know we are in the world of the military, the anxious wives and mothers waiting for their men to return home from battle. Looking onto find them in the column of exhausted troops returning home. Ford again focuses on the community that is directly effected by the cavalry, or any armed force. Due to his time in the Navy’s photographic department, reflecting his experiences in the most American of genres. He turns what could be a wild West scene easily into any conflict and any time in America’s military history. Handled with great sensitivity. Not one line of dialogue can express the emotions going through the women and children waiting for fathers, husbands and brothers to return home safely. It’s here we learn that York has a son whose just been expelled from West Point, the same school where only a few years before 2nd Lt. Michael Shannon O’Rourke (John Agar) who had to fight class distinctions with Colonel Thursday. The younger Trooper “Jeff” Jefferson York (Claude Jarman Jr.) who then went back to enlist as a regular. Showing determination to ensure he sees a military future and carrying on his families legacy in uniform. The younger York doesn’t have that social stigma but could potentially carry another one – a West Point failure. The news of his failing in maths doesn’t come as a surprise to the father, which could be seen as a trait that he has passed onto his son.
Among the other enlisted men we have the youngest men of the Ford Stock Company, which are used successfully for lighter scenes and depicting the men in uniform with faces we can recognise and relate to. Daniel Boone (Harry Carey Jr.) and Travis Tyree (Ben Johnson) allow us to get under the surface of what it takes to get into the uniform, what makes a man in the cavalry. Essentially average Joe’s who want to make a life for themselves. Becoming essential to the plot as it reaches the 3rd act, showing that solider with our without stripes and medals is needed on the field of battle.
It’s the addition of Kathleen York (Maureen O’Hara) which has the potential to turns things upside down, carrying with her a deep-rooted resentment of her plantation being burnt to the ground during the Civil War. Her main reason for being on the fort, to collect her son from the cavalry, something she learns is easier said than done. Not just needing her signature, but that the willingness of her son to also sign, which form him would be a sign of giving up on himself, essentially a sign of weakness. Her resentment towards York, extends also to Sgt. Maj. Timothy Quincannon (Victor McLaglen) who carried out the order to burn hers, among other plantations in the Shenandoah Valley, part of a strategy to cripple the Confederacy at the heart, if the farms are scorched, no food can be grown to feed the army and the men fighting within them. Taking place over a 5 month period in 1864 under the orders of General Ulysses Grant. Seen in the context of Rio Grande as regrettable but necessary actions needed to speed up the wars process in the favor of the Union winning the war.
Looking at the depiction of the Native Americans who again are focus of the external conflict, the Apaches are again reduced to being vicious faceless, nameless pests for both American and Mexicans on both side of the border. When they are heard to be chanting by Quincannon they are seen as just a nuisance to be quelled with a threat. This is quickly undermined with an attack of three combined nations heading over to rescue to captured Apaches. There’s no effort to see their side of events, just something to be stopped at any cost. A cost that could lead to a court martial if the orders to bring their rein of terror to an end. Verbal orders which are carefully delivered as to avoid legal complications if they were to go horribly wrong.
These orders reflect the then contemporary policy towards Korea, if orders were made public of the countries intervention into the country were to go wrong. The social and political implications would be far greater than the result. Keeping the operation quiet until known to be a success and an American victory was far more important. Colonel York experiences the same dilemma. As much as he wants to carry out the orders, he knows the weight on the consequences o the mission failure on a personal level. I found this situation fascinating, how many failed political decisions that have been hidden from public scrutiny, probably very few with a decent press.
Concerning the York family dynamic we have a father whose hard on not just himself, understanding that historically he’s lost his family based on orders he was given that broke a family that was already split down the middle politically. Kathleen’s presence brings all of these emotions of guilt, honor and duty into question when it comes to his own family. The uniform comes before his own life and those of others, he has to follow the orders of his superiors without question, it’s the chain of command that has cost him his wife and son for 15 years. With the arrival of his son – coincidence I think not, see him begin to soften to life as a parent whilst maintaining his position. Whilst Kathleen softens over the film’s duration to realise that both the men in her life are in uniform and that comes before family. By the end of the film she sees herself more as a military wife who understands the importance of the uniform. Again ending with a scene that relies only on emotion, as the men return from another campaign, she looks on and waits for husband and son to return, finding the colonel on a travois injured, reaching out for his arm as they walk into the fort. Nothing mores needed to convey how far thy they have both come together.
Looking back at the trilogy they each explore different facets of the cavalry. Whilst celebrating they look at legacy of campaigns, the individuals involved and the impact they will have on history. The celebration of life on the fort at all levels and aspects of life from new recruits in training to those about to retire. Until the final installment Yellow Ribbon is the most romantic of the trilogy, Rio Grande pours it on thick musically with the Sons of the Pioneers and the carefully lit scenes with between Wayne and O’Hara. Ford doesn’t miss a trick, even if the last installment was purely by accident, creating a trilogy before the term franchise was even a thing in cinema, it was the actors who were the real attraction not so much the reliability of the content that guaranteed success at the box-office.
It’s been a few years since I first saw Bone Tomahawk (2015) at the cinema, my friend enjoyed it far more than me. I could see by his visceral reaction, definitely a horror fan who had been thrilled by the dark experience of this Horror-Western. My mind was still lingering on the graphic images of violence, the splitting of a man down through the legs after a scalping. Not your average western in terms of the images that you’d generally get to see. As I reflect back on this film I am again reminded of how it references The Searchers (1956), how the themes more so in the case of this later film have been weaved into this captive rescue Western. I needed to revisit to build on my understanding of what’s become an interesting oddity in the genre.
My original review was based on my initial thoughts less than 24 hours from taking in the film, I don’t have that experience so much to rely on now. I came to this viewing with an expectation of knowing that image would be waiting for me. That didn’t put me off either, instead I was getting myself ready and excited to be taken back to those moments in the screen 3 years ago. I remembered the lines about how many arteries in the throat that needed to be cut in order to kill and a man, delivered so dry as a normal conversation, all part of the job that was so sloppily carried out by two robberies who got what they had coming to them. In-fact most of the dialogue’s written to reflect more the time period than contemporary America. Laced with a sense of decency and politeness that would usually be found back East, civilisation is making its way West.
The opening of the film takes us briefly into this dark world of cannibalism, meeting a dark figure in an out of focus shot that gruesomely kills the older of the two fools to walk through the sacred ground of the not so sacred Troglodytes that roam this region of the Wild West. Before cutting back to Spring Hope, a frontier town that where we meet the main characters of the film. The slow pacing of the dialogue reflects the atmosphere of this almost too polite town. Arthur (Patrick Wilson) man laid up on the sofa for 12 weeks with a broken leg faces a period of great boredom if it wasn’t for his nurse wife Samantha (Lili Simmons) doing her best to take his mind off the pain. Still enjoying his marital duties in one scene, telling us this is not your standard Western, we’re being taken into the domesticated West where couples could make a life for themselves. Sheriff Hunt (Kurt Russell) is a law man whose known to be trigger-happy when pushed. Joined by his back-up deputy Chicory (Richard Jenkins) making up a classic double act. We also meet the Ethan Edwards of the film Mr Brooder (Matthew Fox) a gentleman on the surface alone, go a little deeper and you find a racist with a gun that’s waiting for an excuse to shoot them dead.
With the scene set, there’s still no sign of these Troglodytes until the next morning after a black stable boy has been found brutally murdered and the jail found completely empty. Civilsation has been tainted by the dark forces which we are still yet to see or fully understand. We get a brief description from resident Native American The Professor (Zahn McClarnon) who shares all he knows about this dark off-shoot of a Native American tribe that no-one dares mention. Taking a dark path that even he won’t take to help them. Here the use of the Native American’s used to replace the radical Islamist terrorists who have been radicalised and subverted their own holy book The Quran to explain their insane actions upon the rest of the world. The only Native present in the film’s seen as a respected part of the community that no longer sees him as a threat, instead he’s been assimilated onto their world.
Unlike the Troglodytes that we are still yet to meet. The four men we met earlier set off into an eerily cold Wild West, scenery we know to know to be synonymous with the genre yet there’s something different in the air this time. We have no soundtrack to accompany this wide open space, just our thoughts of the impending danger they are about to find. First having to contend with the stubborn Arthur who shouldn’t have left his home, wanting to find his wife. Whilst his old rival Brooder feels duty bound to rescue her too. Whilst the sheriff and deputy buddy act gets underway. Hunt tries to keep them moving and in line, Russell really suits this role, as he swagger’s around the wide open landscape, it like he’s come from that time period. Again playing the leader, whilst Jenkins Chicory is a beautiful homage to a Walter Brennan type chatting his way through the nervous wait of the long journey.
Our wait is a long one, it’s painfully nail-biting at times as we finally enter the caves of the Troglodytes, it’s not long until they are first ambushed after seeing such a hopeful start to the rescue mission that for a while goes so terribly wrong. The two survivors join Samantha in a cave of torture, there’s no other words for it, just waiting for the inevitable. If not for the limping husband Arthur who by rights should have been killed by now hobbles along to save the day. What they see confounds their belief system, members of the Christian community unable to comprehend what theses cannibals are doing. Survival is the only way forward, it’s gruesome for everyone who have to make choices they would never consider back home.
My thoughts on the connection to The Searchers is somewhat different, there is a search which is more defined and much more restricted, no scope for the open vastness of the mythical space such as Monument Valley. We have a more open discussion between the characters on racism. The era of hating the Indian is over in this Western, it’s time to focus on the future, find this relic and rescue the defenceless woman, who this time can talk back. The heroes (if you can call them that) are shown and seen to be interacting in the others environment, far more than in previous films, you have to explore and ask the question – why would people do such things? before you can leave with your life. Brooder who is clearly the Ethan of the film’s sidelined here, allowed to travel with the men, however his actions are more directly questioned and fought against. Whilst Ethan has to the power to walk all over those who ride with him for a most of the film. It’s his presence and knowledge of the Comanche that make him both valuable and a danger to those who are searching for the Edwards daughters after the raid.
Leaving Martin Pawley (Jeffrey Hunter) to question his thinking and eventually persuade him to rescue and not kill Debbie (Natalie Wood) who he believes to be tainted, no longer a white person after her time with the Comanche. Brooder is more generalised racist who has let his hatred for Native American’s seep into that for other non-white nationalities that see him become a loose cannon with the men. His gentlemanly guise is a thin veil for something that fine clothes and manners cannot hide. Whilst Ethan (John Wayne) wears is it plain-sight in his speech towards even his distant family. Martin who he rescued as a child, who had since been adopted, is seen as a mistake in his eyes, he’s no kin of his. It takes the course of the film for him to change his view.
So what’s my view on Bone Tomahawk now? It’s still a film that leaves you taken aback, the images stay with you, the ideas are now even stronger, I’ll probably sleep better having got that first viewing under my belt. It’s a very rich film that gently plays out until you’re hit with the horror of the other that America is still dealing with today in terrorist attacks and the attempts to prevent Mexican’s and other South American’s crossing the border. It’s a very prevalent film that speaks of a nations fears that won’t go away anytime soon.
I’ve been meaning to watch Paris, Texas (1984) for quite sometime now. Only being aware that it was a modern classic and seen as a modern take on The Searchers (1956) where once again I will be coming from as I explore and try to understand what is a beautiful film no matter the reading you take from it. I know now that my next piece of work will be based on the John Ford/John Wayne classic and how it’s influence on film ever since. My exploration has now taken me to Wim Wenders classic, having only seen one other of his films and more recently his Polaroid exhibition at the Photographers Gallery last year.
So where to start with Paris, Texas, I thought it would be straight-forward modern retelling of the Western classic. That was before we met Travis (Harry Dean Stanton) who in the opening scenes collapses from a mix of heat exhaustion and dehydration. The desert has not been kind to this tall gangly man who remains mute for the first 30 minutes of the film. Relying on his gestures or lack of them to discern what he wants. When his brother Walt’s (Dean Stockwell) called to come and collect his once thought dead brother from a small hospital in the middle of the Texan desert. Texas is the first real link to The Searchers where we find the film is loosely set, the backdrop of seven years of wandering. The silence is at first worrying, has Travis become a mute, or has he been psychologically afflicted, uttering no words, relying on his strained relationship with his brother to communicate. You can only feel for them both as Walt tries to reconnect and understand his brother who just can’t keep still at first, twice he bolts before finally making the trip West to California.
Hopes of flying home are soon dashed when Travis needs to stay on the ground, he’s a complex man who we are beginning to understand as he slowly opens up to us and his brother who we learn has been bringing up his nephew as his own child for the past 4 years. Travis has been wandering for the past 4 years, but why. The journey home on the open road doesn’t pass without a few bumps along the way. The location of Paris in the state of Texas is brought up a few times as they both reminisce, a plot of land that he had hoped to have truly made his home. The wandering cowboy making a small part of the world his own, a homestead for the family he once had. Still holding onto the more fragile parts of his past for later his return to Walt’s home and being reunited with his son Hunter (Hunter Carson). All this could be read as Aaron Edwards (Walter Coy) bringing home his wayward brother Ethan (Wayne) from the wilderness after the civil war. At this point I’m beginning to see how the classic has been reworked.
Back home he begins to open up to his son, both are unsure of each other, one leaving without reason or notice, feeling abandoned, whilst the other deeply troubled by his own behaviour. A cowboy just riding off into the sunset, much like Shane yet without the young boy crying out for his return. His presence would ultimately be detrimental to those around him. The family home – which could be replaced with the Edwards homestead is equally uneasy and full of memories for Travis who begins to make up for lost time with his son who begins to allow this stranger back into his life. I feel that so many of the scenes in this film could easily be shared here, but that would be too extreme. However the father son relationship that is at the centre of the film is only suggested in the Searchers, could Lucy (Pippa Scott) or even Debbie (Lana Wood and Natalie Wood) yet unable to express that connection would have broken the Hays codes that restrained films so badly in the 1950’s. Wenders doesn’t have any of that to consider, his family have raised the boy as their own without question, and without with-holding the truth either.
The blossoming of the father-son relationship is at times both heart-warming and very moving as they begin to see each other as part of one another. An invite to walk home together is brutally snubbed as only a child can handle, whilst Travis can only look on with rejection. It’s a family home-movie that seen to be most revealing. We meet the mother Jane (Nastassja Kinski) who had a passionate relationship with a much older Travis. The images are too much for him at time to bare. For the audience it’s our first chance to see Jane, a part of his life that has only been spoken about, shaping our view of what this character means to them.
Travis finally decides to take things into his own hands, after being told more about Jane by Anne (Aurore Clément ) who had raised Hunter as her own. Jane for the past 4 years has been depositing money on a monthly basis in a bank in Houston. That’s all he needs to seek her. After spending just over half the film trying to find himself and pick up where he left off, does the real search begin. Leaving with his son in tow they head for Houston hoping that they can find one person in a city of thousands. A beautifully simple translation of plot elements for a modern audience and setting. Father and son grow closer as they get closer to finding Jane who Hunter believes he’s spotted. The search is now on, following a 7 year olds hunch they hit the road in hopes that he’s right, or face waiting another month.
Finally reaching the car and a quiet building Travis enters into a world he knows little about. This the Ethan of the film does enter the Comanche Camp and finds his Debbie very much alive and well. Working in a peep-show, another form of prostitution. Unlike Travis Bickle (Robert De Niro) who was able to save the young girl from a downward spiral, our Travis here is prevented by a wall of glass and a telephone, that affords him the safety to get to know the woman he knows he’s hurt, scaring both her and himself into their own separate wildernesses. What follows are some of the longest scenes I’ve ever watched, pure conversation between two people, only a phone line connects them, the truth hopefully will break through.
Let’s go Home Debbie – Ethan’s final lines of dialogue, the hatred in him has now melted away, allowing him to see the girl, the niece that can be saved. He can now see the hope in her to bring her back to civilisation. Whilst he’s still left to wander, unable to be part of the family. Travis gives up his position to reunite his son with his mother in an equally moving ending to the latter film, Believing this is the right thing to do by his son, finally putting Jane first after what was an emotionally abusive relationship built on a destructive passion that couldn’t last. There maybe no racism but there’s plenty of anger that still has to be dealt with internally for the quiet man who drives off into the night. Ending a film that is deeply melancholic, reaching into the heart of America’s deserts to reunite a family that ultimately cannot be together. Sam Shepherd‘s simple script has taken a classic formula of the search and rescue Western and transforming it into a tragic romance between a couple that had no chance of being reignited. I just wish I’d seen this classic years ago, now I’m left wondering how many more rich films have been inspired by such a complex Western that I maybe still in the midst of my own search for some time to come.
It feels like a long time since I’ve got my teeth into the influence of The Searchers (1956) in film. How one little Western could really effect so many more after it’s release as just another John Wayne western, nothing to go crazy about at the time. And then the first batch of film directors to leave film school had discovered this under appreciated masterpiece, for some they really couldn’t let go, or John Ford and Wayne couldn’t let go of them. One of those was George Miller who has recently been able to go back to this anti-hero and explore him further to great success. I can’t to see where Mad Max goes next in the apocalyptic future that has breathed fresh life into an already cult classic of a film.
I’m about to undertake another extended film review, looking at the original trilogy of films, reading them as Westerns and where I can as being influenced by The Searchers, something of a preoccupation in my film watching. Beginning with the original 1979 that I was told by my dad that one of my uncles thought was crap on release. I wanted to see for myself why did he think that? I wanted to put that opinion to the test. My first watch a few years ago, left me wanting more, all the crashes, explosions and fast-paced action was all I wanted. It felt far longer than it actually is too. Looking back I found I was watching a different film, same images, but with a different set of goals in mind. Not just a refresh in the mind, but also to find the Western iconography that connects a seemingly throw-away road movie to the great American genre. A genre that can easily be transplanted to the vast Australian outback. I was surprised that the cast mostly speak in an American accents, reminding me of the dubbed English audio found in Spaghetti Westerns. Being an Australian production and cast, even made on location in the country. Maybe this was a decision to help sell the film to an international audience.
Set a few years in the future, a decidedly vague choice by Miller to keep the audience guessing, how long do we have to wait for this prediction to come true, hopefully that would never happen. We’re thrown into the start of a police chase, two interceptor cars are ready and waiting for a car to come into view. One car with a cautious officer who can’t even stand the odd swear word from his partner – a man clearly out of his comfort zone but wanting to keep the peace on the open roads of the Aussie landscape. It’s a car chase that will have massive effects for this squad of interceptors for the duration of the film. The couple in the car carried the leader – Night Rider (Vincent Gil) of a biker gang that is ultimately killed whose legacy brings forth bloodshed and violence.
We first meet the gang as they ride into town, much like a group of riders on horseback, their motions even on two-wheeled vehicles are arranged like the four-legged animals would once have dominated this open space. The bikers bring with them a brand of violence that can only be delivered on two wheels, the maneuverability and ease to all murder and rape to be carried out on the innocent. They are vicious men who show no mercy to thier victims, they’re sadistic and shocking even today.
We haven’t even met Max (Mel Gibson) whose face is kept out of view until he makes his entrance saving the day, showing that he’s not one interceptor to be messed with. Along with his partner Jim Goose (Steve Bisley) who loses his cool when he learns that their latest suspect – Johnny the Kid (Tim Burns) has to be released. All part of a rigged system that works in favor of the criminal, having no apparent evidence creates the illusion of a rigged legal system. Leading Goose to his eventual demise and a strong Searchers reference, after a few scenes that built up to the gang getting revenge him for his treatment of the Kid, a more reluctant and innocent member of the gang, dressed in more civilian clothes leads Goose to what could be seen as an Indian raid. Scar’s Comanches delivering their revenge for his mistreatment. Even leading up to the car explosion he’s reluctant to commit the act. Could the kid have been captured and adopted into the gang, being pushed to prove himself to the rest of the gang, most importantly to the new leader Toecutter (Hugh Keays-Byrne ) whose growing tired of him. The following scene goes further than Ethan Edwards entering the massacred homestead of his brother’s wife and family. We are never shown the extent of the human cost, left only to our imaginations. It’s believed to be too painful. Miller goes a step further, taking us into the hospital room, changing the shot to reveal a bed with a bed sheet over a raised framework. Max investigates, discovering the charred remains of his partner who he’ll never work with again.
From here on out we see a once law-abiding interceptor (I say that loosely as they were the law), Max becomes a man on a mission. The drive to see justice done, is forced upon him by the killing of his wife and child. He has nothing else left to live for except to use the security of his job and uniform to see that justice is delivered. Even resulting to methods not too far off what the gang would use themselves. He becomes the very thing he hates in order to ensure his wife and child’s death was not worthless. The impact of their deaths is too much for him to just sit down any more.
We are seeing the origins of a man whose destined to live a solitary life in the outback of a future that is still uncertain. I am left wondering how do we get from Mad Max to Road Warrior. Are there a number of biker gangs that take over, how does civilisation crumble to become a rare group of people who will do what is necessary to survive. All will be revealed in the middle film, which I feel is the strongest of the original trilogy. We will see how Max has transformed into a loner who wants nothing more than to be left alone like a gunfighter who knows Indians, or in this case bikers.
It’s been a few weeks since I watched the original Mad Max, which laid the foundations for what has become an Australian classic. George Miller returned to the well to produce a far more futuristic and dystopian future, using the first now as a firm foundation into what could easily be and has become a franchise (albeit 4 films) with its own unique language, which has been carried through more recently to the belated remake/reboot/sequel (I’m still not sure where it fits in but I bloody love it), a far more bombastic entry than the original entries.
Now back to the first sequel, now I remember mostly the exhilaration of watching The Road Warrior (1981) more than anything else. It was a case of re-watching to remind myself. Even the ending was a complete surprise. Opening with a short prologue that explains where we, it’s vague enough to be in the distant future, carefully and with pathos placing Max, making use of footage from the first film and archive footage from past conflicts to paint a bleak picture of how the modern world collapsing, irretrievable by the governments even then. I wonder how things would work out now with a trade war between America and the rest of the world. The fake news and underhand activities of a clandestine Russia who are unable to take responsibility for what’s clearly their own actions. Or will global warming beat all of us to the point where we self destruct?
With the prologue setting the tone we’re thrown into another road ambush between Max and a gang of bandits on bikes and cars, kited out with spikes, cross-bows and anything else they can use to inflict death on. We witnessed what was clearly the final days of what we would call civilisation as it began to crumble. Now it’s Max against the world, taking on the role of a future gunfighter replace the standard horse for a car with all the bells and whistles to survive and outwit his opponents on the open road. Riding alone if it wasn’t for with his dog, man’s only true friend. We catch a small box under the chassis with switch, the first loaded gun that we thankfully see fired later on. Ultimately he outwits these bandits, meeting Wez (Vernon Wells) whose part of a far larger gang. Clearly main adversary of the film, taking on the position last held by Toecutter, both are pretty much the same character, hell-bent for the same things in life. Wez is however far more dangerous with a short fuse, once lit has to be allowed to blow.
Clear of the first incident Max encounters a real character – The Gyro Captain (Bruce Spence) who really steals the show. Another man out there in the wilderness, trying to survive. Complete with a unique gyrocopter that allows him to escape the mayhem below. He could easily be the mad inventor sidekick if Max would only let him into his life. Max has now become a lone wolf, unable to really connect to others enough to trust them. It’s a dog eat dog world that relies on having your wits about you. One false move and your dead. For Gyro the stranger in his life is a breath of fresh air and sees in him the opportunity for some excitement instead of keeping his vehicle safe. Both men who have seen a lot since the modern world collapsed.
Gryo leads Max to where he can get his hands on more fuel, the main commodity in this dystopian world. Found in a much desired complex heavily fortified and wanted by The Humungus (Kjell Nilsson) and his gang (including Wez). It’s a constant state of war for those with the oil that they have found and will do anything to hold onto. The rag-tag band of men, women and a Feral Child (Emil Minty) are not afraid to fight, only on more civilised terms, they haven’t let the end of the world affect them too much. They are essentially good people just trying to survive. Those with all the riches in the area, whilst the uncivilised punk riders are the Native Americans of this world. Circling the compound on an almost daily basis, doing what they can to chip away at the defences of the last refuge for the oil tanker which means hope, stability and ultimately survival. The compound could easily be seen as a fort of the last of the civilisation, trying to hang onto what makes them human. Could they be the last hope for humanity in this corner of the world.
Now I remember the original deal that Max makes with the compound when he nears with one of their wounded, as much gas as he can carry in exchange for their dying man. The deal/contract doesn’t last long enough to be fulfilled before an ultimatium is made by The Humungus which determines the future of the community that have been fighting to survive for too long to give up. The tanker in exchange for their freedom, a fair deal for some, not for others and only 24 hours to make their minds up. The catalyst is ultimately the stranger among them – Max, with his unique set of skills and experience he is their Shane who can save the day. If only he chooses to stay with them is up to him. His world is far different than that of Shane who has to leave in order for civilisation to thrive. He’s very much a loner who still has a heart that has to be found before he can make a difference. One key scene in a make-shift garage between him and the communities leader Pappagallo (Michael Preston) whose able to get past all the leather coat hard-shell to find the man whose no different from anyone in the compound. It’s a classic scene that allows audience to understand Max more. Of course we have the original film to draw upon for his back-story.
In terms of Western comparison, it’s all there in the action, swap horses for cars, trucks and bikes, all pimped out with a rustic punk aesthetic, they aren’t just vehicles, they are weapons, homes before they are transport. All culminating a jaw-dropping finale that feels like it last forever. Breathtaking stunts that have produced a string of sequences that sees a huge swathe of characters meet a fantastically bloody end. Each one unique and grisly, there’s no need for repeats, it looks like George Miller was playing, when in-fact it would have been carefully laid out to look like a male fantasy of road carnage. This is what I remember the unadulterated violence, the tension of these scenes that show how precious this commodity really is to the survivors of this future.
Looking forward to the next and final installment we are left with a far shorter epilogue, learning that the narrator is in fact the Feral child, which is a precursor for Beyond Thunderdome (1984) and the commercial sellout I’m now dreading it to be. If only the trilogy wasn’t that, but a nicely compact two-parter that has an origin story and well-crafted sequel that feels very much like a Western in the classic form that feels far more modern, a conflicted man who doesn’t want to make connections with others, yet knows he has to help others in need. The law enforcer in him is not dead yet. Miller has crafted a visual language that draws on the then present, retrofitting it for the a future that is both alluring and incredible dangerous to enter.
I’ve been putting off the third installment for a few days now, making excuses not to sit down, until I thought, lets just do this and get it over and done with. What I felt was going to be the Millers Return of the Jedi, with plenty of money to spend now with lots of stipulations to gain the biggest return. With two major elements to sell-out, first you have a big name of the moment with rock star Tina Turner who herself had just made a successful return to the music world with her latest album, a second wind in her long career. Whilst the real Jedi factor is the kids, to reach the widest audience – appeal to the kids. True this is 15 rated film in the UK, that wouldn’t stop it getting lower ratings across the rest of the world.
Again my memory of this film has faded overtime, thinking it was far longer and much better than it actually is – I’ll get to that later. With a bigger budget at least it was still filmed on location in Australia than over the Nevada desert. The tone of the film’s set in the opening scene, a pilot and son in the cockpit of a small plane hijacking a camel drawn car. Discovering it was once again Bruce Spence in a similar role, hoping that this would be a true link to the previous film ultimately made no sense as the Gyro Captain who in the prologue took over leadership of the group that escaped in Road Warrior. Why would he leave them with only a child. Understandably his on-screen chemistry was too much to pass up for a cheeky cameo, or an attempt to make a connection to the last film that just got confused in the edit.
I couldn’t stop thinking of the recent reboot/sequel – Fury Road, how I badly compared this last entry as being the strongest influence on it. In terms of visual style it’s very strong, however it has more in common with the middle entry. I need to revisit and put that error right. Miller’s world has certainly been expanded with the bigger budget. First with Barter Town, where we find Max who was the owner of the camel drawn car wanting to get his vehicle back. Entering a dark world where remnants of the society we have known have been held onto and bent in order for survival of the fittest. They have regressed to a state of law and order that wouldn’t look out-of-place in the Wild West. Max through sheer persistence with The Collector (Frank Thring) who takes him to meet the leader of Barter Town, no not the saxophonist, this is 80’s sexy minimalist style. The big reveal of Aunty Entity (Turner) whose open to a deal, that’s after he proves his worth to her.
If you’d been wondering what the hell the title of the film meant, you don’t have to wait much longer, a throw-back to classical justice of Greece or Rome, a giant metal dome where all arguments are settled. A deals made for Max to get The Blaster (Paul Larsson) in the arena. Part of a larger scheme to disrupt the power play between the two classes that make up the town. The underworld which literally holds that power than keeps the town alive is in the hands of two people with the combined name of The Master Blaster. A little person – The Master (Angelo Rossitto) the brains, whilst The Blaster is the braugn. Together they are not to be messed with in the pig-s*** infested underworld. Connected by a metal framework over The Blaster’s shoulders. Essentially Max in a pawn in a bigger problem that he’s more than happy to get involved in for his own gain. Much like in Road Warrior, the stranger than enters with his own agenda is happy, however he’s bitten off more than he can chew.
Barter Town is an in-depth expansion into the apocalyptic future that Miller has been bringing to life. You could see it as just another collection of people just trying to survive the only way they know how. However the complexity of this town is explained away all too easily in the dialogue – namely Dr. Dealgood (Edwin Hodgeman), there purely to explain and dumb-down the rules for us of this town so explicitly we don’t really have a chance to understand on our own terms.
Our town in the Thunderdome is probably as violent as the film really gets before recycling the finale from Road Warrior. The confined space to fight in, the crowd that put themselves in danger just to see someone die is a sure sign of the regression of modern society to return to more primitive methods to settle a score. It’s the only gunfight of the film that ends, well it doesn’t really end, it leads to a form of torture. They didn’t really need Max, he was just a catalyst who discovered he still had a conscience.
You could easily break this film into two smaller films, two scripts that have been brought together in the development process. Once Max’s sent on his way to his death, much like Clint Eastwood in The Good, the Bad and the Ugly (1966) without the drawn out pain and suffering that helped make the film. Max is later found by a young woman who drags him back to a hidden paradise populated by just children with a language that first time around was interesting, now it’s just annoying, reminiscent of the more sophisticated language used in Anthony Burgess’s A Clockwork who invented a form of slang of Nadsat that takes some understanding to really enjoy the novel and film. Miller’s kids are abandoned remnants of society who’ve been left behind during the escape from the worlds destruction. Believing Max to be their savior, a pilot who has come back to take them to Tomorrow Morrow another paradise that gives these young people hope of a better future. The children are on the whole annoying and just human copies of Ewok’s essentially, only now you wish you couldn’t understand them.
Sadly we like Max are stuck with these kids who some eventually accept as not being the pilot of their dreams, having a built a narrative around this now god-like figure. We’re pulled back into the desert as half of them have gone off in search of this Tomorrow Morrow. Max knows that first they’ll encounter Barter Town which if left unattended would be exploited and killed, maybe worse things. The children of a paradise are about to enter Deadwood or Tombstone essentially. Reluctantly Max becomes a parent to these feral children who begin to overrun the underworld, rescuing The Master who has lost his place in their society, treated little more than the pigs who now surround him.
A signature ending of a car chase then ensues, the only difference is that they are chasing a car on train track, changing the dynamic of the chase, a large cannibalised vehicle’s path restricted by rail, falling into the hands of Aunty Entity and her gang who are in pursuit. It looks like a sure thing, a recycling of events from the previous film, nothing is really fresh at this point, just a change in some of the elements, more children than ever. The level of violence’s reduced to almost nothing, even for a 15 rating with the odd explosion and arrow being shot, it’s just tame for a Mad Max film, let alone an action film that you’ve come to expect from this trilogy that has been made safe by the inclusion of more children. Why didn’t he feral child from Road Warrior pop up to bit someone, at least that would have been more violent.
The addition of kids and more kids has had a knock-on effect to the overall quality of the film that entered far too much into music video world. I can forgive the casting of Turner who I’m a fan of, she really owns the part and has a real presence, becoming part of this postapocalyptic world. Maybe if the children came to more harm, maybe we would have a more exciting film on our hands. Not a mess of what is two shorter films that resulted from two much studio interference asking for more of the this and less of that. The violence in this world made it dangerous, worth exploring, shocking an audience who wanted more of the same, but got something that catered for the wrong audience.
I can’t write the film off completely, there are some interesting things going on, some scenes really get your attention. In terms of the overall trilogy and the Western genre that I began this extended review looking at, Miller has used it as a framework to look at a possible future when the West was still not quite won. If an event of such explosive proportions were to strike, civilisation could easily regress to a simpler state of operating. The need for survival becomes more important that the structures that we create. Yet for the pockets of humanity that are left in this future who are trying to rebuild cling on to these simpler models to get on their feet. The goal then is to stay alive and hopefully rebuild a future that can resemble a past they once had. The trilogy starts out strongly with the opening entry working as an origin story before we really enter into a dark world where it’s survival of the fittest where anything goes. Then entering what could have been a better entry and the potential for more if they hadn’t listened to the studio too much. It’s still a strong unique trilogy that offers a bleak view of the future without coming directly out of Hollywood, whilst using the tropes of the Western as the bare bones of a different world view.
Probably the only comedy western which like many others first think of is Blazing Saddles (1974) which still holds up today – mostly. I decided to take the plunge into the sub-genre with another Burt Lancaster led film The Hallelujah Trail (1965) which I was for years avoided, comedy and Western can be really silly, becoming boring. Admittedly I laughed a few times here and there, but not enough to say this is a comedy that I’ll be returning to in a rush. I did however see it through and considered some of the themes that it raised, even comedy’s of varying quality can raise some issues to discuss.
The Trail is one of the few films to actually give decent screen time to the Temperance Movement – the Feminists of the 19th century, with a focus both moral decency and more rights for women. They have always received a raw deal in a male dominated genre. Maybe it’s in light of the #MeToo movement that I’m able to this coming through more. Previously the genre has seen them as basically party-poopers who want to stop the men having any fun. Twice in 1939 we see them trying to change their society in their small way. Trying to lecture Joe Clemens (Frank McHugh) in Dodge City, luring him away both alcohol and violence. Partly helping him stay out of trouble in Errol Flynn‘s absence. The intervention doesn’t hold for long, the lure of the violence next door becomes too much to handle. Also seen as a comment of gender, if a man can’t take part in a fight and hold his liquor, is he really a man. Whilst over in Stagecoach a prostitute Dallas (Claire Trevor) is driven out of town by the Law and Order League, which could be argued to be a good thing. A town with no prostitution is always better, however that label has only been inferred in various readings of the film. Once The Ringo Kid (John Wayne) enters, his advances to Dallas are first ignored, she knows she’s no good, tainted even, we never know the real reason, it’s all inferred by the audience who decide her past from the clever dialogue and acting. Whilst Sam Peckinpah uses the South Texas Temperance Union in The Wild Buch (1969) as merely something to be shot at. He hates them enough to see them killed in the street indiscriminately by Pike Bishop (William Holden) and his men. They are lost to the crowd that are caught up in the crossfire of the bank robbery that goes wrong.
So somewhere in the middle we have the young attractive women in Hallelujah Trail led by Cora Templeton Massingale (Lee Remick) who uses their sexual power to overcome the soldiers at the for they are staying at. A political rally that encourages the band to play along and even cannons to be fired. Enough to alarm Col. Thaddeus Gearhart (Burt Lancaster) returning from a mission, is alerted to the noises back at the fort, mistaking them for an Indian invasion. The film sets out to place the army – in turn the men on the back foot, they cannot have full control of the events in this film.
Here gender roles are flipped if only for comic effect in the year of 1867 when apparently the Indian wars are over, the Plains Indian’s have all be penned off to reservations, the problem has been solved in a mere two years since the end of the Civil War, a little too simplistic and incredible inaccurate. If anything the wars continued well into the 1870’s before the “Indian Problem” was finally and dramatically resolved at Wounded Knee in 1890 with a few arguments over treaties around that same period. The film wants to quickly brush the “Indian problem” under the carpet to allow the Sioux to break out in search of whiskey that’s been promised to the town of Denver.
At the centre of the film is a fight over who gets their hands on the said whiskey. The Temperance league wants all 20 wagons worth to be poured into the river. Whilst the men wanting it, just want to safely arrive to avoid the oncoming drought that’s heading their way. Whilst the U.S. Army just wants to ensure it’s safe passage, whilst also trying to keep the peace between these two sides. That’s before the added element of the Sioux wanted the gifts they’ve been promised on a yearly basis being delivered. A standard part of the original agreements, tonnes of money, food and gifts to pacify them in turn hoping to encourage them all to adopt a life of farming. In short a lot of people want that booze. Lastly we have the Irish who are transporting 10 of the wagons, who have labor grievances that they want to take up with the trail leader Frank Wallingham (Brian Keith) an upstanding tax paying citizen and Republican.
Everyone but the army are out for manipulating the situations to suit their own goals. Understandably water in the area is scarce and not always as clean to drink as alcohol. Whilst the women who have both their looks, age and gender on their side to try to manipulate the situation in an attempt to instill abstinence in the men across the country. Of course in a comedy that doesn’t always go according to plan. Massingale is not as clean and sober as she wants to appear to be. Whilst the Sioux are rightly out for what they’ve been promised. Sadly their on-screen depiction is far worse than usual. Not only are white actors playing the chiefs, whenever they speak the narrator translates over them, even any sign language is mocked by the narrator. They are again seen as 2 dimensional people. Their goal maybe more appreciated by the audience whilst still reducing them to children in the process. Following the smell of booze that for future generations can ruin a life on the reservation.
There are moments such as the gunfight in the sandstorm which after a few minutes becomes tiresome. Well staged and meaningful in wanting to get the laughs. We get that the confusion from sides stops anyone dying because they have no clear view of the perceived enemy. It pretty much sums up the film, no one wanted to really be there making it. Lancaster was contractually obliged to take part at a reduced salary, not getting on with Remick, the jokes rarely hit the marks. If anything it’s just become very dated to watch. There are moments that stand out but very few. It’s raised slightly by some of the cinematography that achieved some daring pans above the action as it passed under the camera. However it’s essentially a comedy dud. With sole exception to the Temperance movement that’s blurred with feminism if only briefly and back-tracked on at the close of the film. There’s a lot going on in a here and it’s far too long to really call a comedy. The main problem is that it needed another script draft before reaching the screen, leading it to be an overly ambitious film that could have been so much better.
I’ve recently started to re-watch the Richard Slotkin lectures on the Western genre, he goes into great detail about how the genre was reborn in 1939. From spending the majority of the 1930’s in the obscurity of the B-movie, it was regenerated as part of re-engerising the country during the great depression, encouraging the public to look back and celebrate their recent history. In the past I’ve looked at both Stagecoach and Dodge City, even Union Pacific that were all released during that prolific year in Hollywood history. Another lesser known piece is The Oklahoma Kid (1939) that was part of Warner Brothers attempt to breathe new life into the Western. Slotkin didn’t really have many kind words for the film, putting it down to mis-casting of both James Cagney and Humphrey Bogart who were known more for their gangster roles during the decade. Criminals fighting back against an unfair system. The genre itself was a reformed Western in a different guise, brought up-to-date with tommy guns and speakeasy’s in place of Winchesters and saloons.
I had to see for myself just what The Oklahoma Kid was all about, seeing a younger Cagey and Bogart who are clearly out of their comfort zones. Having previously seen Bogart paired opposite Errol Flynn (who suited the genre) in Virginia City (1940) an unspoken sequel to Dodge City released the previous year. Set up as another chance to see the dashing Aussie in the West, with only a few lines of dialogue to explain his accent, allowing the audience to easily accept him in the Wild West as we wait for him to ride in and save the day. He’s nowhere to be found in The Oklahoma Kid, the other Warners production of 1939. A smaller production that had spent more money on having two big actors share the screen.
It didn’t take long for me to see that Cagney was not really playing the cowboy, he was still the gangster out for himself. We first meet him as he robs sacks of gold meant for the Cherokee nation who had just been forced off thier land in what was fast becoming Oklahoma state. The Kid (Cagney) is seen lurking in the rocks, waiting to make his move on men lead by Whip McCord (Bogart) who have just left a stagecoach. One bad-guy steals from another, there’s no sense of respect for each of them. You admire the Kid’s ingenuity but left wondering whose side is this guy on. He steals money from thieves, why didn’t he join the other men? Does he only work alone like Ringo the Kid (John Wayne) who we know would never commit such a crime. Oklahoma seems to lack any sense if morality. We have yet to learn what McCord is all about, beyond the fact he wants to steal money meant for the poor.
The film is again set-up as a historical Western, much like Dodge City and Union Pacific, allowing us to believe that these events could have happened, we are transported to the era when America was progress, long before the Great Depression. We are nearing the close of the frontier now, set in the mid 1890’s, where not so many future Westerns are set unless it serves a different purpose thematically to the film. We are present at the birth of a new State, settlers have gathered for a land-rush that grounds the film in some sense of history, real or fictional, it sets the scene for progress and the film to unfold. A lot of work goes into the storytelling of both Dodge and Kid the backdrop is seen to be very important.
In most films of the Golden age there is usually a clearly defined hero, however in both Dodge and Kid the heroes are reluctant, more so The Kid as he wants to only help when it serves his own purpose. Leaving our screens to focus on corruption to set into the young town of Tulsa after McCord blackmail’s town founder and future mayor Ned Kincaid (Harvey Stephens) allowing for vices to co-exist with virtue, becoming just another Wild West town full of gambling, alcohol and sex, with the church pushed to the back. Progress is still a long way off for this young town. Bogart’s gang have laid the foundations to own the town of Tulsa, even explaining as much before the land rush is even over. Bending the rules for his own ends.
We meet The Kid again living in a hut, there’s a baby crying, we are led to believe that this could be his baby, who we learn is Mexican as he sing to them in Spanish. Before learning that this is just a hideout, as there’s a $500 reward for him, not that bothers him. Riding into Tulsa to find his father’s Ned Kincaid has been framed for murder, under the penalty of hanging, the traditional punishment in the West. How can this upstanding citizen who ran for mayor be capable of committing such a crime. The Kid or as we learn is the son of Kincaid, the bad son who was left to lead a life of crime. The Kid puts family above all other priorities, as we see his drive to clear his father’s name sees him push for his own form of justice. However his guns only get him so far, when the advice of Jane Hardwick (Rosemary Lane) tells him that he needs the law on his side to do things the right way.
What follows is a showdown that stretches the length of the West as McCord’s men are tracked down and killed. Just like a gangster driving around led by rumours as he tracks down those who have wronged him. The Kid has only his horse and tracks to follow and that’s enough to see him leave only McCord for the final showdown. Staged just like a gangster film we know we aren’t far from the urban streets of the Chicago or New York when it comes to these two leads. Both actors are very much out of their comfort zone here resorting to fisticuffs until one is shot. We never really left the 1930’s, not with Cagney and Bogie together. Run for Cover (1955) sees a far more at ease actor in the genre, having broken free from the tropes and language of a genre that define and typecast him for a decade. Whilst Bogart came into his own during the 1940’s as Film noir and darker roles beckoned for him.
I can see that the money was spent on Dodge City, with the large set pieces and far expanded cast. The Oklahoma Kid still clings to the language of B-Westerns, the sped up horse chase across the open country, the costumes and characters that are mostly 2 dimensional, the running time doesn’t really allow much to happen when we cross so much time during this film. Now I’ve seen practically all the major Westerns of 1939 I can see that some are still trying to make the leap to the big budgets and concepts that allowed it last for over 30 years.
If I’m honest I had no reason before now to really return to Rio Conchos (1964). It was inspiration for an early piece of work that I’ve made. The unfinished mansion of the confederates who had fled after the surrender at the end of the civil war. I could see the potential in the building, even looking at how it was first framed, from behind the pillars on the porch we have no idea what state the new home is in. The focus of the work has been put into the entrance, emphasising the need to display the power they had once lost back over the border. A need to assert power and stature in a foreign country was clearly essential for Col. Theron Pardee (Edmond O’Brien). This time around I wasn’t so much drawn to the mansion, that drive has been fulfilled, allowing me to focus on what was just a chance to return to a curio of a Western that had faded in the memory.
The memory had become so fragmented that the mansion was really all I remembered. Leaving me to truly rediscover what is really another chance to explore the influence of The Searchers (1956). From the opening scenes I could see clear comparisons between them. We see a number of Apache’s being gunned down just as they are about to pay their respect to the dead they have brought out to cremate. We find James Lassiter (Richard Boone) hiding from view. He enjoys the killing, showing no respect for these Native Americans wanting to say good-bye. If there were more Apache’s he would surely have carried on until he had no more rounds of ammunition. Much like Ethan Edwards (John Wayne) whose stopped by Reverend Clayton (Ward Bond) who can see that this same emotion is all-consuming in the man on a mission of search and destroy.
The very next seen we found Lassiter sleeping in the burnt out homestead when he’s found by Union Captain Haven (Stuart Whitman) and his men. Not so much for killing the Apache’s, more so the gun he used. This could easily have been an alternate version of The Searchers – Edwards, a Confederate solider who we learn wasn’t present at the surrender. Also he could have been so grief-stricken that he stayed in the also burned out homestead and avoided the 7 year search, which would mean no film. It’s a version of events that’s taken up in Conchos instead, who without a supporting community and family a search was never carried out. Lassiter does however know who killed his family, not that we learn this until the final act of the film.
Brought into face justice at a military outposts that doubles as refuge for families making their way West. Everyone is living in a world if fear, something that Lassiter has experience first-hand, changing his outlook on life. A selfish shell of a man who resents the union for winning the civil war and the Apaches for killing his wife and child. Left to rot with his old friend and partner Rodriguez (Anthony Franciosa) who I saw as another Mexican stereotype whose allowed to be a little more than the sidekick at times.
Now for the subplot, the rife used by Lassister had previously stolen, before being sold on. Captain Haven want’s to track down these stolen weapons, hoping to use a gunpowder as bait to bring them to the guns. Something he feels he can achieve if he enlist the help of his newest prisoner. An unorthodox method that sees them cross the border. The prisoner sees this as an opportunity to test his luck, bribing them to also release Rodriguez, a ruthless man who will do anything as long as he gets his own way. Waging his own war against the victors of war as he carries out one last campaign.
Made during the early days of the civil rights movement we have Jim Brown’s Sgt. Ben Franklyn a rare Black soldier, depicting progress in the Union army, a victory for the freed slaves and taking note also of Sergeant Rutledge (1960) which had an all black unit of men. Here they’re mixed, reflecting the hope for better integration within the contemporary U.S. army. Here Franklyn, named after one of America’s founding fathers plays a fairly decent sized role for a traditionally white-centric film and role. He’s able to freely express himself to his superior, no fear of reprisal, carrying out orders and most importantly he gains the respect of Lassiter who a few years before fought for his continued life as a slave.
Moving the focus back to Lassiter whose not afraid to make personal sacrifices, he’s on a mission, one that even he doesn’t really know about. We finally begin to see a more human side of him when they’re surrounded by a band of Apaches who surround another burned out house. A house that only holds reminders of a past that he has yet to resolve. When we see him turn from killer to protector. He becomes the other in order to help them get away. Even their captor, a Squaw – Sally (Wende Wagner) who he begins to see more as a woman and human being to protect. She loses the image of Mexican Apache to become someone to be protect. She’s the Debbie of the film, whilst Boones – Ethan Edwards has begun his long journey to redemption and hopes of moving on. He faces one last challenge, to fight his Confederate past when he’s brought to Rio Conchos, the new base for Pardee’s men south of the border. Becoming Confedardo’s. Hoping to rebuild and return for another chance of glory that has rejected them.
The final act is full of emotional and physical pain for everyone left alive. Visually it’s a little hard to make out at times what is going on, shot in day-for-night conditions for the finale as they tied up men who by this point has been dragged by Apache horses. A form of torture ordered by Blondebeard (sounds more like a pirate than a Native American name) Kevin Hagen who we learn killed Lassiter’s wife and child. The Scar of the film is finally revealed and is just as mean as his white opposite who came for him. It’s a dramatic fiery mess that draws to a close what has been not so much boiling over but simmering for a while. Boone plays the sneaky under-hand kind of man, layered with grief and anger, not quite a hero or anti-hero, he just wants what is justice in his eyes and that’s all that matters.