Cast:
Clint Eastwood (The Stranger), Verna Bloom (Sarah Belding), Mariana Hill (Callie Travers), Billy Curtis (Mordecai), Mitchell Ryan (Dave Drake), Jack Ging (Morgan Allen), Stefan Gierasch (Mayor Jason Hobart), Ted Hartley (Lewis Belding), Geoffrey Lewis (Stacey Bridges), Dan Vadis (Dan Carlin), Anthony James (Cole Carlin), Walter Barnes (Sheriff Sam Shaw), Paul Brinegar (Lutie Naylor), Richard Bull (Asa Goodwin), Robert Donner (Preacher), John Hillerman (Bootmaker), John Quade (Freight Wagon Operator), and Buddy Van Horn (Marshal Jim Duncan) Directed by Clint Eastwood (#1252 - Space Cowboys, #1310 - Million Dollar Baby, #1476 - Pale Rider, #1501 - Unforgiven, #1550 - Gran Torino, #1638 - Bird, and #1757 - Sudden Impact)
Review:
"The townspeople did not represent the true spirit of the American pioneer, the spirit that made America great."
It's interesting to consider the reactions one can have over a Western that dared to do something different with the genre, if only because not many Westerns get criticized by a Western icon - because that quote above is by John Wayne, referring to this feature film, which was the first Western directed by Clint Eastwood (apparently, he had sent a letter to Wayne after this film was released to perhaps star together on a film - go figure). This was his second feature, with the first having been Play Misty for Me (1971), and Eastwood would end up directing a total of six features in the 1970s (all but one featured him as star). Of course, Eastwood had plenty of time to incorporate his vision of the Western hero with six seasons of Rawhide and stardom in Sergio Leone's "Man with No Name" trilogy around him. It wasn't even the first starring feature of his to feature a lead character dedicated to serving some sort of retribution to others that had brought upon him, as could be evidenced by Hang 'Em High (1968). Eastwood's influences in Don Siegel and Sergio Leone prove apparent here, probably helped by the fact that Eastwood included their names on gravestones in the film. The film was evidently inspired by a murder in 1964 of Kitty Genovese, who reporters had said numerous people heard or saw the crime from their apartment building but did nothing (of course, this report was later found to be highly inaccurate). Ernest Tidyman, who had won an Academy Award for his work on The French Connection (1971), wrote the screenplay, although Dean Riesner (a writer on numerous Eastwood films) provided key re-writes.
It's too bad that Wayne thought there was some sort of disagreeable element to making a portrayal of the Old West that differed from what had been seen in dozens of films before it (perhaps he saw something in this film that reminded him of High Noon (1952) when it comes to examining one's conscience, since Wayne also disliked that movie). Well, at least the ones before The Wild Bunch (1969), anyway, because heaven knows the genre has only managed to have one or two highlights in the next couple of decades, and High Plains Drifter is probably one to spotlight for the 1970s, paranoia and all. I welcome any kind of movie that has interest in showing the fear of a town in what they know about themselves, where trying to teach a town courage ends up exposing a lack of moral courage from before. Of course, this is a movie that makes itself starkly different from other films with its hero in the first 25 minutes, so there is that to consider. Eastwood has made an effective film here, one filled with iconoclastic spirit that points the mirror firmly at oneself when it comes to showing conscience and justice. It isn't surprising that the script proposal presented to Eastwood was offbeat enough for him to like it, because it is a lead role that continues what Eastwood liked to do best: the less one says, the stronger one becomes in the imagination of the audience. This results in an efficient production and performance, one that maneuvers his way through with raw enigmatic energy; interestingly, the original script had him as the brother of a marshal, but this was changed to something that could lend itself to discussion. The rest of the cast follows along with worthy reflection, most notably with Curtis. While most of the folks here are representations of the ooze of the morals in town, Curtis is different even when presented as a yes-man to the folks around him, if only because of his eyes, ones that have seen pain despite plenty of friendliness to go around. Bloom is the only other one with a semblance of conscience here, one that eventually festers to the surface that results in a few interesting moments shared with Eastwood, while Hill represents the other side of feminine influence in the town of alleged morals with proper wiles. Ryan is the other highlight among the smarmy folks, one who serves as the ideal conniving presence without having to chew scenery to do so, with the others following along in that regard. Lewis, Vadis, and James do well as the adversaries in simple ruthlessness without needing to see more than what is needed. If you think about it, Pale Rider (1985) is the cousin to this feature when it comes to long & tall mysterious strangers arising from somewhere in a small town, but I think High Plains Drifter is slightly better, if only because it has a jagged edge of humor and allegory that makes its result all the more whole, one that utilizes its 105 minute run-time for gratifying effect in haunting display, complete with a Dee Barton music score to generate a first-rate Western. It isn't perfect, but it makes a worthy first impression when looking on the career of Clint Eastwood - the star and director.
Overall, I give it 9 out of 10 stars.
Note: This one was for Dad.
No comments:
Post a Comment