‘FRONTERA’, ‘WESTERN UNSCRIPTED’ REVIEWED, PLUS ‘TRAIL OF BLOOD’, ‘BONE TOMAHAWK’, ‘WESTWORLD’ CASTING NEWS!

FRONTERA – a Movie Review

Ever since the birth of theatre in ancient Greece, the classical tragedy has always been about people of social importance: if they don’t have social status to begin with, how can they fall?  And implicitly, if they’re not important, who cares about them?  That all changed in 1949, when Arthur Miller wrote DEATH OF A SALESMAN, and showed that the lives of ‘nobodies’ could be as compelling as the lives of ‘somebodies.’ 

FRONTERA is a tragedy about regular working people on both sides of the U.S./Mexico border – a retired lawman and his wife tending their ranch; a family whose father must travel north when there is no work at home, and another hungry mouth to feed on the way. 

To the south, the pregnant wife (a beautiful but de-glamorized Eva Longoria) dreads having her husband (Michael Pena) make the dangerous trek through the desert, even though he’s done it before.  And Pena has an extra worry – his father-in-law is saddling him with the son of a friend (Michael Ray Escamilla) who is stupid and irresponsible at best, and maybe much worse.  To the north, Amy Madigan has saddled her horse for a ride, and while her husband, Ed Harris, would come along, his knee is still healing.  He asks her not to take the best trail, because it runs along the border, but he knows she will.   Her meeting with the two men from the south is both cordial and cautious.  She kindly gives them water bottles, and a blanket from her horse against the coming cold of night.  The difference in the two Mexican men is most clear here: Pena is formal and respectful; Escamilla flirts childishly. 

Michael Pena, Eva Longoria

All would have been fine, each going their separate ways, until a series of gunshots shatter the silent desert air.  The woman is dead.  I am loath to give away too much more, because this is a highly compelling, masterfully told story.  It’s not a mystery – you always know who is committing what act, but not what the results will be, and yet the tale is told by writers Louis Moulinet and Michael Berry and director Berry with a self-assurance that makes the outcome of each scene seem both inevitable and infuriating: you can easily imagine yourself making many of the mistakes that the characters do.  For Moulinet, best known as an art director, and Berry, directing his first feature, it is a highly auspicious debut.

Ed Harris and Amy Madigan are actually husband and wife – they met on the set of PLACES IN THE HEART, and have since worked together frequently, including co-starring in RIDERS OF THE PURPLE SAGE and the recent SWEETWATER.  Though here Madigan’s time on the screen is cut short, in a few strokes she etches a character that you like and miss.  Harris, Longoria, Pena and Escamilla bring humanity and dignity to their characters, and you care about them all.  Longoria in particular, when she tries to join her husband, pays a coyote to take her, and goes through sheer hell. 

And the movie plays fair with the highly controversial subject of unsecure borders, something I did not expect in the politically correct world of Hollywood.  Not all of the ‘secure the border’ crowd are portrayed as redneck racists.  Not all of the illegals coming across are people that anyone would want in their country.  In one stunningly effective but almost throw-away scene, two men out of a dozen traveling across the border with a coyote separate themselves from the others, throw down prayer-rugs and  begin bowing towards Mecca, underlining how little we, or even the coyotes, know about who is coming across the desert, and what their motives might be. 

I’ve described FRONTERA as a tragedy, and it is full of tragic events, yet it is not a ‘downer,’ nor are the characters without hope.  Cinematographer Joel Ransom gets plenty of atmosphere into the often moon-like border desert, and editor Larry Madaras bridges the gaps between places and moments seamlessly.  This fine film is receiving a sporadic release, and is very much worth the trouble of seeking it out. 

WESTERN UNSCRIPTED – A Stage Review

It’s kind of hard to know how much to tell you about Saturday night’s performance of THE WESTERN UNSCRIPTED, because you’re never going to see that story.  In fact no one will ever see it again – because it’s an improvised story, performed by members of The Impro Theatre, and no two performances are alike! 

The FALCON THEATRE, comedy legend Garry Marshall’s venue in Burbank, was packed – all 120 permanent seats were filled, and ten more chairs were put in place.  And no wonder; The Impro Theatre has quite a following, having already tackled CHEKOV UNSCRIPTED, SONDHEIM UNSCRIPTED, and L.A. NOIR UNSCRIPTED among others – coming in December is the return of TWILIGHT ZONE UNSCRIPTED!

As the audience took their seats, the mood was set with instrumental themes from THE WILD WILD WEST, TRUE GRIT, and HOW THE WEST WAS WON.  I was struck by the quality of the sets immediately: a projection screen in the back for the sky, a two-story saloon exterior on the left, and a two story building on the right.  Then the lights went down, a campfire bloomed center-stage, and an old sourdough explained that the rest of the cast would soon come onstage, and they would improvise an evening’s entertainment based on suggestions from the audience.  Then he picked up his campfire and left. 

A moment later, the cast cantered out like SEVEN BRIDES FOR SEVEN BROTHERS, handsomely period-costumed, and one of them, Lisa Frederickson, addressed the audience, asking for suggestions for a reason for a lot of town-folk to gather.  Audience voices called out, “A hanging!”  “A funeral!”  “A shotgun wedding!”  “A shotgun wedding.  I like that,” Lisa responded.  

Having seen a fair amount of improvisational comedy, I thought I knew what was coming: a brief sketch about a shotgun wedding, followed by more audience polling, and more sketches.   But I was wrong – this was a feature western, not a short subject, and they played the story for a full two hours, minus intermission, and never slacked the pace.  Within moments an actor had opted – or been appointed – to be the reluctant spouse.  A reason for the urgent marriage – a baby – was improvised with a rolled-up blanket.  The conflict was created – three other men became his accomplices in a series of train robberies.  There’s a big payroll coming, and they’ve been waiting for him to get this marriage done so they can pull the big job.  He wants to go straight, but this one job could help save her family’s farm…you know, that’s a darn good plot: I can see George Montgomery or even Joel McCrea doing it!  It already made twice as much sense as JOHNNY GUITAR!

It was hysterical -- wonderfully silly fun, without ever being juvenile.  On-the-fly, actors created characters and relationships; clearly the cast is well-versed in the common elements of westerns.  And as has often been said, comedy acting is hard, and if you can do it, you can certainly do drama.  One sequence involved a matriarch who’d disguised that she was dying until one of her daughter’s had married.  As the three daughters gather around their dying mother, even with the jokes, we got choked up: they were that good. 

Many of the jokes grew out of western clichés, and some grew out of anachronisms.  One of the actors, desperate to think up a name for a hideout, came up with Smuggler’s Cul-de-sac; I think they’re still needling him about that.   One of the lead bandit’s sisters-in-law gets the idea of smuggling him back to town dressed like a woman; the idea of seeing him in a dress becomes something of an obsession to several characters, even when it no longer serves the plan.  And the actors certainly challenge each other.   When the bandit’s accomplices taunt him for not re-joining them sooner, one says to him, more or less, “I think you’ve been away from it too long.  I think you've forgotten the plan.”

“I remember the plan.”

“Then tell it to us, all of it, to be sure,” forcing him to create off-the-cuff a four man plan to rob a train!  THE WESTERN UNSCRIPTED plays Wednesday through Sunday, October 5^th.  Wednesday through Friday the curtain is at 8 pm; on Sunday it’s 4 pm.  I loved it, and I’m going to try to catch it once more, to see how different the second performance will be!  Here’s the link for information and tickets: http://improtheatre.com/shows/western-unscripted/

‘LUCKY’ BARRY PEPPER TO FOLLOW ‘TRAIL OF BLOOD’ TO NEW WESTERN SERIES!

Barry Pepper in TRUE GRIT

Barry Pepper, who played Lucky Ned Pepper in the Coen Brothers’ TRUE GRIT, and appeared in THE THREE BURIALS OF MELQUIADES ESTRADA and THE LONE RANGER, is set to star in TRAIL OF BLOOD to run on CINEMAX for Endemol Studios, the folks who bring us HELL ON WHEELS!  He’ll portray a frontier preacher in search of his teenage daughter, who has been kidnapped by the Harpe brothers, real-life infamous serial killers who were active in the late 1790s.  It’s written by Ross Parker, and he and Christina Wayne, who was producer on the mini BROKEN TRAIL and the BBC-America series COPPER, will produce. 

‘BONE TOMAHAWK’ STARRING KURT RUSSELL ROLLS CAMERA MONDAY! 

Kurt Russell in TOMBSTONE

Western horror novelist S. Craig Zahler will make his debut as a writer/director with BONE TOMAHAWK.  The western tale of four men trying to rescue captives from a group of cave-dwelling cannibals has long been set to star Kurt Russell and Richard Jenkins, who will now be joined by Patrick Wilson and Matthew Fox.  Peter Sherayko is consulting producer -- he and Kurt Russell last worked together on TOMBSTONE, which turned out rather well.

MICHAEL HORSE GIVES DEPP’S TONTO THE BIRD ON ‘HELL ON WHEELS’!

The Depp Version

The Michael Horse Version

I was catching up on the last three episodes of HELL ON WHEELS – thank goodness for the DVR – and was delighted to see Michael Horse, who was the best thing in 1981’s LEGEND OF THE LONE RANGER, playing Tonto.  In the H.O.W. episode THE BEAR MAN he plays Old Porcupine, and a little bird told me he was poking fun at the new LONE RANGER movie, and Johnny Depp’s dead-bird headdress.    

GILLAM PLAYS SLIM PICKENS IN B’WAY-BOUND ‘BLAZING SADDLES!’

Pickens & Gillam in BLAZING SADDLES

Great news via our good friends at Westerpunk!  They tell me that when Burton Gillam, the toothy and goofy star of BLAZING SADDLES, PAPER MOON, and many comic turns in westerns, appeared at their Weird West Fest, he revealed that he’ll be in the up-coming Broadway musical version of BLAZING SADDLES, playing Slim Pickens’ role from the movie!

SPEAKING OF ED HARRIS – HE TAKES ON YUL BRYNNER’S ‘MAN IN BLACK’ CHARACTER IN ‘WESTWORLD’ REMAKE

Yul Brynner in WESTWORLD

Ed Harris in APPALOOSA

Remakes of terrific shows are usually a bad idea, especially when they involve recasting iconic characters: you don’t want to follow John Wayne or Steve McQueen or Yul Brynner into a role, no matter how good the paycheck.  But whoever thought of casting Ed Harris in Brynner’s role in WESTWORLD is a genius.  Movie also stars James Marsden and Evan Rachel Woods and Anthony Hopkins as the lead humans.  And if you don’t understand that reference, you need to run out and see Saul David’s original 1973 production of Michael Crichton’s WESTWORLD, posthaste.   Here's the trailer from the original.

AND THAT’S A WRAP!

I’m trying to get some script revisions finished this week, but I know I’ll have some interesting news next Sunday, including a review of a new book on the Christmas music of Gene Autry

Happy Trails,

Henry

All Original Content Copyright September 2014 by Henry C. Parke – All Rights Reserved

DEPP AND HAMMER SHINE AS NEW TONTO AND LONE RANGER!

THE LONE RANGER – Film Review

It looks like director Gore Verbinski, producer Jerry Bruckheimer, and writers Ted Elliot, Terry Rossio, and Justin Haythe have done what no one else has managed to do in decades: make a new Western that will delight and satisfy die-hard fans of the genre and the characters, and introduce the form to a young and fresh audience who will hopefully want to come back again and again.  (Note: I originally has a sentence here saying I was thrilled that they were already working on LONE RANGER II, but I have since learned that there are, as of yet, no plans for a sequel.)

Among the fine major Westerns of the last several years, 3:10 TO YUMA (2007), APPALOOSA (2008), and DJANGO UNCHAINED (2012) were rated ‘R’. TRUE GRIT (2010), like LONE RANGER, was ‘PG-13’, and featured a child protagonist in Mattie Ross, but there was no great ‘reach-out’ to a younger audience.  But The Lone Ranger, since its inception in Depression-era radio, through two Republic serials and 217 TV episodes and three feature films, has always been for kids, and this new version, as the same production team did with their PIRATES OF THE CARRIBEAN franchise, has built a movie that will draw in the interest of kids while exposing them to the classic elements of westerns, which have delighted audiences for generations, nay, for over a century. 

I know there will be classicists who will accept no substitutes for Clayton Moore and Jay Silverheels, and I can only tell them that they’re missing out on something they would thoroughly enjoy – a Western made with so much money that there is nothing left out because of budgetary restraints, made by people who have a clear love, respect for and knowledge of the genre, and who flex the art and craft they’ve honed for years.  Is it perfect?  No.  Will you love it so much that you’ll forgive any imperfections?  Hell, yeah!  This is not a museum piece, it is living, breathing – sometimes hyperventilating – art that builds on the past without requiring a knowledge of the past to be appreciated.

The story opens, unexpectedly, at a carnival in San Francisco in 1933, perhaps not coincidentally the year The Lone Ranger premiered on WXYZ radio.  Will, a little boy with astonished and astonishingly large brown eyes, all dressed up in a cowboy suit and six-guns, is visiting a nearly-empty side-show, examining the stuffed bison and other displays, and jumps with surprise when an ancient Indian figure sitting outside a tepee, a crow atop his head, suddenly comes to life, and seeing the boy with a black mask on, addresses him as “Kemo Sabe.”  It is, you guessed it, Tonto, looking easily ninety.  They talk, the boy frightened at first, but soon fascinated, as Tonto tells him the story of his relationship with John Reid.  Soon the old Indian’s words take on visuals, and the story of how Tonto and John Reid met, and how Reid becomes the Lone Ranger, begins. 

Most of the story revolves around Promontory, Utah, and the upcoming event of driving the golden railroad spike that will complete the laying of track for the Transcontinental Railroad, linking the East and West coasts of these United States together.  As a demonstration that peace and civilization have come to the frontier, railroad magnate Cole has ordered that the most despicable of villains, Butch Cavendish, already sentenced to die, be brought there by train, to hang.  Also being transported is a lesser criminal named Tonto.  A group of Texas Rangers are on the way to assist, while the Cavendish gang is on the way to thwart the law.  On the train is John Reid, a young lawyer from a family of lawmen, coming out west to reunite with his family. 

When all of these people with differing plans collide, you have one of the two tremendous train-bound extended action sequences that book-end the movie, and it is so beautifully constructed that’s it exalting to watch – it’s everything you’re hoping for, and more.  I hope it’s not a spoiler to say they don’t get to hang Butch Cavendish that day.  The hunt for Cavendish and his gang, and his hostages, and the search for an insidious conspiracy, drives the movie through two hours and twenty minutes of thrills, action and humor.

Much has been said, in anticipation of this film, about the diminishing of the Lone Ranger to build up Tonto.  That isn’t what happened.  Instead, the story is, as it always has been, about the creation of the man, the identity, of the Lone Ranger; but this time, it is told from Tonto’s point of view.  And it works – after all, Tonto is who he always is.  It’s John Reid who takes on the new identity, and telling the ‘why’ is the purpose of the film.   

The original masked man and faithful Indian companion had little back-story, and these have been expanded, giving more heart and humanity and motivation to the characters, and not a few surprises.  John Reid still has a brother, Texas Ranger Dan Reid, but there is also a woman in his heart, who just happens to be, awkwardly enough, not his wife, but his sister-in-law.  We learn about John Reid’s background early on, but only discover the astonishing truth about Tonto as the story races along.  The mask is there.  The silver bullets are there, but while they were a minor part of the story of the original Lone Ranger, they take on startling significance in this telling. 

Johnny Depp’s characterization of Tonto borrows nothing from Jay Silverheels, which is good, because we don’t want an imitation, we want a performance, and we get it.  It’s unlike anything I’ve ever seen Depp do before, diametrically opposed to his theatrical-to-swishy personification of Captain Jack Sparrow.  But it is still Depp, and his dramatic work, as well as his comedic timing, are spot-on as always.  More poker-faced then stoic, he reveals his emotions with his words and actions, almost never his expression.  Depp is virtually unrecognizable in his two distinct make-ups, as the young, and as the very old Tonto, and the masterful work by the make-up department under the direction of Joel Harlow is worthy of Oscar consideration.  Incidentally, Depp’s previous westerns are the highly regarded DEADMAN, directed by Jim Jarmusch, and last year’s RANGO.      

As the man who transitions from by-the-book lawyer to masked crime-fighter, Armie Hammer impressed as twins in THE SOCIAL NETWORK and as J. Edgar Hoover’s lover in HOOVER.  His look of doe-eyed innocence works perfectly with his character’s self-assured arrogance early in the story.  But in addition to the comedy, and he does play Costello to Tonto’s Abbott, he has a sincere believability which makes the pain of his many personal losses in the story moving to the audience. 

Striking British actress Ruth Wilson is effective as brother Dan Reid’s wife and mother of their son Danny (Bryant Prince), and projects that sort of inner strength we associate with frontier ladies.  She also has a lovely face for period stories.   James Badge Dale plays John’s more down-to-earth and down-and-dirty brother, Ranger Dan Reid, with the traditional restraint of the western hero, but with heart and courage.

 

Among the less likable characters is Tom Wilkinson as Cole, the railroad mogul more interested in profit than progress.  As Butch Cavendish, William Fichtner, star of the series CROSSING LINES, excels, portraying a character so revolting in his passions that I wouldn’t dare spoil things by giving it away here.  His make-up, including a hair-lip is, like Depp’s Oscar-worthy. 

 

Barry Pepper

Other performances of note include Helena Bonham Carter as Red, a madam with valuable information and an ivory leg.  Barry Pepper plays the dashing Fuller, a character modeled on Custer.  No stranger to westerns, he was Lucky Ned Pepper in the TRUE GRIT remake, and even turned up on episodes of both LONESOME DOVE spin-off series.  Saginaw Grant impresses as Chief Big Bear in a scene where the Lone Ranger learns about the earlier life of Tonto.  Mason Cook, who plays the little cowboy in the introductory scene is, surprisingly, a western veteran, having well-played a key role in last year’s WYATT EARP’S REVENGE.

Leon Rippy as Collins

Leon Rippy, who plays the key role of the tracker Collins, is disguised from his DEADWOOD fans (where he played Tom Nuttal) with a revolting spray of facial hair, gives a sometimes comic, sometimes emotional, and dramatically critical performance.  And though it’s just a cameo, it’s nice to see Western veteran Rance Howard as a train engineer.

From the moment the action moves from Depression San Francisco to the old west, the delights are many, with extra kicks for we western nerds.  The filmmakers express their reverence for Sergio Leone’s ONCE UPON A TIME IN THE WEST frequently, and in a way that cleverly extends the honors farther still.   The building-of-the-railroad through Monument Valley echoes not only Segio Leone’s similar use of the location in ONCE UPON A TIME IN THE WEST, but also reminds us that Leone was paying his respects to John Ford.  An early scene at a railroad station brings back not just the opening of IN THE WEST, but it’s homage to Zinneman’s HIGH NOON.  A later scene of growing menace in an isolated farm acknowledges not just IN THE WEST, but Leone’s love of George Steven’s SHANE.  For that matter, when a train-board revival meeting features, “We Will Gather At The River,” it’s not just a salute to Sam Peckinpah’s THE WILD BUNCH, but to John Ford and all of the other filmmaker who’ve used it.  And if you don’t know that guns will be drawn before the end of that hymn, then this must be your first rodeo. 

Are there some flaws?  Sure.  It’s funny when it should be, but sometimes it gets too jokey, and after you’ve been emotionally involved, you’re pulled out of the story by the silliness.  There’s a visit to ‘hell on wheels’, a traveling amalgam of sinful entertainments to entice the track-layers, that is amusing, but grinds the action to a halt for too long.    

I saw the movie at Disney Studios, with an audience of other press and industry types, but mostly with families with exuberant kids who just ate it up.  The one criticism I heard the most?  “The Lone Ranger spends too much time being stupid.”  Dramatically, it’s logical to delay the transition from dope to hero for as long as possible, but for those of us who knew what must ultimately be coming, the wait was sometimes frustrating.  But don’t worry – you do get the William Tell Overture in the nick of time, and from that moment on the film is an enthralling gun-battle and two-train chase to the finish.    

Yugoslavian-born cinematographer Bojan Bazelli shoots like he’s been doing westerns all of his life.  Hans Zimmer’s score is big and grand as it should be, and while there are musical motifs that are a nod of respect to Ennio Morricone, they are nods, and not imitations. Art Director Jeff Gonchor was nominated for an Oscar for TRUE GRIT, and continues to do meticulous work, including the three trains and two towns which were all built from scratch.  Penny Rose, who has done the costumes for all of the PIRATES films, has a beautiful eye for westerns as well.  I’ve seen five big new summer movies in the past week, and THE LONE RANGER is miles ahead of all the rest!  Hi-yo Silver!  Away!

‘YELLOW ROCK’ DVD AND SOUNDTRACK SIGNING SATURDAY

On Saturday, July 6^th, at Raindance Book Store in Long Beach, YELLOW ROCK leading lady, co-writer and producer Lenore Andriel, co-writer and producer Steve Doucette, and actor Rick Mora, who plays Crow Runner in the film, will be signing the DVD, and the just released soundtrack album composed and conducted by Randy Miller.  I recently interviewed Miller, and the interview will be appearing in the Round-up very soon.  If you would like to hear some of the music from the Intrada album, click HERE.  And below is the film’s trailer.

 

 

The address of Raindance Book Store is 419 Shoreline Village Dr. Long Beach, Ca 90802. The phone is 562 432 0199.  The signing will be from 3 to 7 p.m.

 

JAMES ARNESS ESTATE SALE JULY 12^TH-14^TH

I’ve just heard from Julie Ann Ream that she has been working with Jim’s widow, Janet Arness, to arrange an estate sale of the property of TV’s Matt Dillon.  I’ve no details yet on what manner of items will be offered, or the address of the event, but I promise to keep you informed as I learn more.

 

THE WRAP-UP

That’s all for right now.  Monday is the start of the 150^th anniversary of the Battle of Gettysburg.  If you know of any events marking the Battle, please share them here and/or on the Facebook page.  If you have a good photo, please send it along!  And if you are one of the reenactors who took part in the making of the movie GETTYSBURG, why not drop us a line.

 

Hi-yo Silver!  Away!

 

Henry

 

All Original Contents Copyright by Henry C. Parke – All Rights Reserved