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Vendredi, mai 21st, 2010
For those viewers who fondly remember, and miss, Robert Duvall’s role as Augustus McCrae in the 1989 TV miniseries LONESOME DOVE, hold heart. Duvall is encourage in the saddle again as “Boss” Spearman in Start RANGE. It’s been plot too long.
The lead role in this western actually belongs to Kevin Costner, who plays Spearman’s straggle partner and employee, Charlie Waite. Boss is a cattleman that practices free-range grazing, i.e. driving his herd from region to site, only staying long enough for the animals to deplete the available food supply. But it’s 1882, ranchers are beginning to fence in the West, and freegrazers are an endangered species. So, its no surprise when Charlie and Boss are ordered to prefer their beeves and catch out of Dodge, so to assert, by sizable time rancher Baxter (Michael Gambon), who also owns the local town and its sheriff. Waite and Spearman are soon backed into a corner when the latter’s two other hired hands, Mose (Abraham Benrubi) and Button (Diego Luna), race seriously afoul of Baxter’s thugs.
It would be hard to settle between the better performance - Costner or Duvall - both playing characters so strong, self-reliant and soundless that neither knows the other’s burly name. And they’ve been riding the West together for ten years! Nor does Boss know Charlie’s violent history, which included being a Civil War raider, and then a hired gun noteworthy like the ones now working for Baxter. When Charlie falls in fancy with Sue (Annette Bening), the spinster sister of the local sawbones, his guilt over his rough-edged past is a self-imposed handicap that Sue, who sees Waite’s inner goodness, must overcome.
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Moviegoers accustomed to a precise diet of mindless, FX-laden action thrillers may come by the first three-quarters of Commence RANGE wearisome going. It’s called “character and site development”, an shining change of lunge. And when the final shoot-out comes, it’s perhaps the best ever filmed. While most such western confrontations seem like a choreographed ballet, this one shows them for what they were: relatively short, extremely violent, chaotic, and lacking in like gunplay and sharpshooting finesse.
Big Hide westerns are such a rarity nowadays that it’s hard to compare this one with any other in new memory. Though perhaps not as memorable as DANCES WITH WOLVES, this Ancient West morality play is certainly the best since UNFORGIVEN. Admittedly, we’ve seen similar plots before: the microscopic homesteader/Big Ranching feud in the classic SHANE, and Titanic Mining vs. the little prospector in PALE RIDER, Clint Eastwood’s transparent re-scripting of the traditional. However, the acting, cinematography and costuming of Commence RANGE are righteous. Duvall surely deserves a Best Supporting Actor nomination, and the production as a whole may merit a Best Recount nod. My only complaint lies with the editing, which left in one too many leave-takings between Charlie and Sue, the last being completely superfluous. That said, however, this is a five-star tribute to loyalty, rugged individualism, integrity, and simply doing what’s true. I assume, sometimes, that Hollywood has forgotten what those qualities are all about.
For all the hits and misses he has had in front of and slack the camera, Kevin Costner never fails to place his money where his mouth is. Such is the case with Begin RANGE, which I hope will revive that most American of film genres, the Western.
Set in 1882, Commence RANGE stars Costner and dilapidated Robert Duvall as cattlemen only trying to drive their cattle across the inaugurate prairie of Montana. But they soon accelerate afoul of a ruthless land baron (Michael Gambon) out to rid the land of free-grazers like Duvall and Costner; and to indicate his point, Gambon has one of Duvall’s men (Abraham Benrubi) killed and another (Diego Luna) seriously wounded. The stage is position for a old but classic shoot-out to the do.
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If not on the account level of Costner’s 1990 Oscar-winner DANCES WITH WOLVES, or the standards area by people like Clint Eastwood, John Ford, Howard Hawks, or Sam Peckinpah, Originate RANGE nevertheless demonstrates Costner’s comfortability with the Western. His is a distinct performance, and his direction is equally dazzling, with comely photography, done on position in southern Canada, and a radiant Michael Kamen gather. Gambon is about as cross a villain as there has been in any film in modern times, and James Russo does his natural sinister best as a half-crazed town sheriff. It is Duvall, a former of many westerns (Apt GRIT; LAWMAN), however, who really shines, as is typical of this kind of caliber actor. Always offering some wry advice but ready to recall retaliation for having been wronged, Duvall is a tower of strength. Annette Benning also does pleasant work as the town doctor’s sister, who also becomes Costner’s worship interest.
The Western genre has not hurry out of stories or ideas, and never will; it impartial needs people of integrity like Costner to maintain it going. Launch RANGE proves that in spades.
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