Reviews

ROBERT REDFORD plays 'hunk' Halsy Knox, who demands and receives everything he desires except his self-respect. A God-given talent at motocross racing becomes his albatross in his quest to achieve what he believes is his destiny. Along the way are numerous characters of this hobby/religion's entourage including a gear-head named 'Little' (MICHAEL J. POLLARD). They all accommodate his every whim based on his good looks, charm and 'somewhat winning' first impression. It's not until later that an observant witness realizes that he has been duped by a 'con-man without a con' in Halsy's mission to nowhere.

Lots of motorcycle racing action and 60's introspective brings this one up to cult status. Redford is absolutely gorgeous in his appearance/role as a cad. Seems one-half the film has him bare chested! A goodly amount of nudity abounds (full-frontal LAUREN HUTTON, etc.) and if '70's film-liberalism disturbs you then I recommend Olsen twins films.

A GREAT soundtrack with songs by JOHNNY CASH and the TENNESSEE THREE, & CARL PERKINS! Some of the music was written by BOB Dylan.

Filmed on location in Antelope Valley, Ca, Sonoma County, Ca and Sears Point Raceway in San Francisco.

Postscript: "I have seen this film about ten times now and it ALWAYS leaves me thinking about it for days. RR chews up the scenery and gives a bravura performance as Halsy as he stretches his interpretation of the cad to subtle brilliance!"

Hendrik and Willi are co-owners of a cargo barge on the German River Havel. Goods are sent along the river's lifeline to the major ports of Germany. Rotterdam to Berlin and back again. Life is good on the river as far as it goes yet something is missing. Quick jump-offs in the towns along the way become habit. Loneliness can be baggage that we all pack unwittingly. Hendrik played by Carl Raddaz, realizes that real life is going by without them. Especially absent is the company of true female companionship. The river becomes a willing partner to the player who wishes to tempt fate for the rewards of life.

Fate draws a 'pat hand' when late one evening, from the moored barge, a pretty, young women is observed on a bridge ahead. Her lone lamp-lit silhouette showing against the background of night. Appearing distraught, she is crying. The men whisper she might end it all with one last step off the bridge and into cold eternity. Suddenly, she drops something into the black depths below, but by this time our bargemen are there, under the bridge, in their small dingy to retrieve the article. They observe the girl much closer. What to do?

For fate, in it's seeming randomness, allows a new chapter to unfold in three people's lives in post-war Germany. Their meeting becomes a driving gamble of need, and hope. The reward of human companionship, acceptance and the search for true happiness becomes a riddle these players must unravel only to discover that everyone are amateurs in this pageant. What are the mysterious steps required to win the battle over an almost predestined lonely future?

Director Helmut (The Devil's General) Kutner's allegorical tale is a canvas of light and shadow. Mixing pre-war German Industrial high-contrast themes with a kind of pre-natal Cinema Verite he presumes life's outward evidence of happiness is salted with an inner, lonely core which cannot be purged until the lessons of hope are proffered and dangled to the whole world to judge these volunteer competitors. Win or lose? Is the game worth the reward? You 'betcha!

Three former criticisms of OPEN RANGE (not mine):

1) The villians are not defined/fleshed out.

Ans: I don't care, they are the antagonists who have who have cast the first stone and everyone in the story and audience knows it. That's all we need.

2) The film is overly long, with a too-long build-up.

Ans: Only for people used to cartoon action films.

3) Kostner's and Benning's characters fall into love too soon/easily.

Ans: Bull ---- Anyone one who believes this does not believe in 'love at first sight' and I feel sorry for you.

OPEN RANGE opens the door for more adult westerns, a term which was vogue in the heyday of TV westerns and of which people like me have waited far too long.

A must see.

Two years ago a WWII veteran asked me if I saw WHEN TRUMPETS FADE, the story of the battle for Heurtgen Forest. He said that he was wounded in the battle, which history has almost forgotten because it was so overshadowed by the Battle of the Bulge starting several days later.

He informed me that it was chilling in it's dead-on accuracy, not only of the events within the battle itself but of the ferocity of carnage that permeated the senses 24/7 of everyone who was there.

After watching it, I realized this was not a "Let's travel to Middle Earth, and slay the dragon fantasy" but a testimony to the barvery, or lack of it, in battle, that men must endure to justify their existance, which is continually threatened by the enemy. There isn't room for sub-plots when all that is on your mind is staying alive; and at what cost?

All the performances are exemplary in this regard, Eldard creating a character that is not only believable but admirable in it's honesty.

It should be ranked among the new age of war classics of recent years. But please don't look for any love stories or soul searching introspectives, there wasn't any time for that when you are cursing the very ground to get lower than the bullets flying over your head.

Considered by most a masterpiece and by a few 'a waste of film', 1953's SHANE is a mini-epic that tells of the arrival of the mysterious stranger who comes to 'town' and impresses the innocent and threatens the guilty. A good versus evil western was never been more defined. Alan Ladd plays the stranger in an outfit that has been criticized since day-one. He wears a buckskin shirt ala Davy Crockett and if I heard it once, I heard it a thousand times, "that shirt ain't right"! Well, 'pards, I ask you, "Have you ever heard of "Buckskin Frank Leslie?" Just happens to be one of the baddest-ass real life western gunslingers who ever strapped on a gun-rig. Why they haven't made westerns about Leslie I will never know. Doc Holliday, known for reckless bravery, knew enough to stay out of Frank's way. And P.S. he was known for his 'patented' Buckskin Shirt. But I digress...

Shane was directed by George Stevens who admittedly directs with a strictness that borders on fascism. And yet he pulls it off with aplomb. Ladd's character is criticized as well, because he is played by Ladd himself, an actor that is an easy target for certain critics. There's the old joke about Ladd standing in a hole (outside of camera view) to match the heights of his leading ladies, or by standing on a ramp or box so their heights in close-ups would be matched for love scenes. Is this the 'stuff' of western heroes? Not hardly. So here we have "little Alan" taking on one of the most vicious actors that ever played 'Satan Incarnate', the incomparable Jack Palance! Jack's 'Lucifer' is a messenger from hell hired by the bad'uns to save them all from Ladd's goodness. Jack wakes up shortly after arriving in town to assassinate another little man, Elisha Cook Jr., in a scene which was completely and shamelessly ripped off by Eastwood in 'Pale Rider'. The death is completely believable and establishes Palance's character as unstoppable.

The characters in Shane are cut from a woodcarving, they glisten with familiar yet surprising motivations. Ben Johnson, the Sainted actor of westerns plays a very small part that almost steals the film. The bad guys in this film are a textbook rendition of meaness.

But some say that the action is subdued in Shane. But I say the build-up is worth the wait as the final climatic shoot-out has been described by many western film scholars as the best that was ever put to film.

Shane a waste of film? I think not.