When The Wild West Really Was The Wild West- “Wild Bill”- A Jeff Bridges Retrospective
Click on the headline to link to a Wikipedia entry for Wild Bill Hickok.
DVD Review
Wild Bill, Jeff Bridges, Ellen Barkin, John Hurt, directed by Walter Hill, 1995
Those of us who grew up in the 1950s, those of now AARP-worthy , in the early days of television, black and white television, got our heroes, our Western cowboy heroes strictly in white hat, and our bad guys, mal hombres, strictly in black. And the Indians (a.k.a. Native Americans or indigenous people but don’t hold me to either moniker since they may be passe by now as terms of identification although whatever the designation that hasn’t helped the hard pact that the problems of hard economic troubles and social isolation have not gotten one whit better under any of the designations not matter what) well, the less said about the treatment of those benighted and betrayed people the better. Of course this view was all hokum, or worst. It took the likes of Larry McMurtry, Cormac McCormack and others in literature to give us a more realistic view of the rawness, untamed rawness of the Old West. And the likes of Walter Hill to give us a more truthful cinematic view, a view with muddy streets, whiskey breathe, fistfights at the drop of a hat, white or black , treachery among enemies, treachery among friends, many social diseases and all. And that was on the good days. The good director here has taken on the legend of Wild Bill Hickok, generally given the better of it in Western lore as an associate of Buffalo Bill, a civilizing influence, and a king hell gunfighter.
Of course, the subtext for this review is that the actor playing Will Bill is none other than Academy Award winner Jeff Bridges for his “modern” cowboy role (singer-songwriter, okay) in Crazy Hearts. My argument underlying the choice of subtext is that Bridges was born to play theses good old boy Western parts and has done mainly stellar work in the genre ever since he cut his teeth on the modern Texas good-old-boy-in-the-making Duane Jackson in the film adaptation of McMurtry’s The Last Picture Show. And at the acting level that is true here, although the existential characterization and the Bridges cool wit is perhaps a little over the top for the nitty-gritty West of the late 19th century.
One comes away from this film feeling, and maybe not incorrectly, that the distance between hero and villain (here in this contrived concoction about the manner of Bill’s untimely end, and as avenger -villain, the son, the driven son of “spurned” mother whom was once Wild Bill’s lover) is who is left standing at the end. And for most of his life from his service in the Union Armies during the American Civil War until that fateful day that Bill was just one step too cool Will Bill was the last one left standing. But, see there was that little matter of the spurned woman, and that driven son to lay old Bill low.
In any case if you have not seen a Western since the 1950s (although I guess I would want to know where you have been) you will be hard-pressed to sort out the heroes from the villains in this film. The Indians (a.k.a. Native Americans) as usual, in real life or fiction, get short shrift.
Click on the headline to link to a Wikipedia entry for Wild Bill Hickok.
DVD Review
Wild Bill, Jeff Bridges, Ellen Barkin, John Hurt, directed by Walter Hill, 1995
Those of us who grew up in the 1950s, those of now AARP-worthy , in the early days of television, black and white television, got our heroes, our Western cowboy heroes strictly in white hat, and our bad guys, mal hombres, strictly in black. And the Indians (a.k.a. Native Americans or indigenous people but don’t hold me to either moniker since they may be passe by now as terms of identification although whatever the designation that hasn’t helped the hard pact that the problems of hard economic troubles and social isolation have not gotten one whit better under any of the designations not matter what) well, the less said about the treatment of those benighted and betrayed people the better. Of course this view was all hokum, or worst. It took the likes of Larry McMurtry, Cormac McCormack and others in literature to give us a more realistic view of the rawness, untamed rawness of the Old West. And the likes of Walter Hill to give us a more truthful cinematic view, a view with muddy streets, whiskey breathe, fistfights at the drop of a hat, white or black , treachery among enemies, treachery among friends, many social diseases and all. And that was on the good days. The good director here has taken on the legend of Wild Bill Hickok, generally given the better of it in Western lore as an associate of Buffalo Bill, a civilizing influence, and a king hell gunfighter.
Of course, the subtext for this review is that the actor playing Will Bill is none other than Academy Award winner Jeff Bridges for his “modern” cowboy role (singer-songwriter, okay) in Crazy Hearts. My argument underlying the choice of subtext is that Bridges was born to play theses good old boy Western parts and has done mainly stellar work in the genre ever since he cut his teeth on the modern Texas good-old-boy-in-the-making Duane Jackson in the film adaptation of McMurtry’s The Last Picture Show. And at the acting level that is true here, although the existential characterization and the Bridges cool wit is perhaps a little over the top for the nitty-gritty West of the late 19th century.
One comes away from this film feeling, and maybe not incorrectly, that the distance between hero and villain (here in this contrived concoction about the manner of Bill’s untimely end, and as avenger -villain, the son, the driven son of “spurned” mother whom was once Wild Bill’s lover) is who is left standing at the end. And for most of his life from his service in the Union Armies during the American Civil War until that fateful day that Bill was just one step too cool Will Bill was the last one left standing. But, see there was that little matter of the spurned woman, and that driven son to lay old Bill low.
In any case if you have not seen a Western since the 1950s (although I guess I would want to know where you have been) you will be hard-pressed to sort out the heroes from the villains in this film. The Indians (a.k.a. Native Americans) as usual, in real life or fiction, get short shrift.
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