Appaloosa movie review (2008)

“Appaloosa” is starting to make me feel the same way I did during the opening chapter of Larry McMurtry's “Lonesome Dove” and his TV miniseries. At its center is the years of friendship between two men who have seen a lot together and wish they had seen less. It has been called Movie Buddy. Absolutely not. A friend is someone you gain mostly through juxtaposition. A friend is someone you make over the years. Some friends know you better than you know yourself.

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That goes for Everett Hitch (Viggo Mortensen), who for years has worked closely with Virgil Cole (Ed Harris). They make a living by purging the bad guys from Western cities. Virgil wears the sheriff's badge, and Everett is his deputy, but basically, they're hitmen. They do this job with low self-confidence, hair-trigger instincts, quick draws, and deadeye shots. They are hired by the city of Appaloosa to end the reign of terror under evil rancher Randall Bragg (Jeremy Irons).

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So you've got your A-list cast. Harris played a man of few words, many of them pronounced wrong, and steely determination. Mortensen was smarter than his boss, more observant, and knew to hold his tongue when he saw the sheriff make a mistake, as long as it wasn't fatal. Irons plays the rancher as one of the evil slanted-eyed snakes because, gosh, he's good at it.

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Then a woman came to town on the stage. This is Allison French (Renee Zellweger), a widow, she says. No, she didn't come to Appaloosa looking for work as a schoolboy or a big-hearted prostitute (two standard jobs for women in the West). She plays the piano and organ, and dresses like a big city lady in a fancy skirt and a cute hat. He asked the sheriff's office where he could find an honorable inn. The budget is limited. He has a dollar.

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Zellweger firmly took on this role. He won the sheriff's heart in a split second, and he "explained" to the hotel clerk that Miss French would be staying there and would be playing the piano. Virgil Cole has trained his whole life to avoid women's snares, but he's dead. Everett looked at him in surprise. But you won't keep a friend if you criticize the woman -- too soon. Is there anything about Alison to critique? Movies have a way to go.

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Virgil and Everett instantly reminded me of Gus McCrae and Woodrow Call in "Lonesome Dove," not only in their long-standing friendship, but also in their conversations about women. Virgil was so enamored that he gave up his drinking and started building a house for the widow. Meanwhile, Bragg sends three boys into town, who get themselves killed. The showdown was approaching, being watched carefully by the city leaders. Phil Olson (Timothy Spall) is their spokesperson, and who better than Spall? He was a master at telegraphing subdued hesitancy.


No more plots. What is tempting about "Appaloosa" is its relaxed rhythm. Yes, we knew there would be a gunfight; it is unavoidable. But there was also time for hot chicken and pie dinners and debates about new curtains, and for Miss French to twinkle and dazzle and show her astute survival instincts. What makes this film interesting is the way it aligns all strands of characters and traits and weaves them into something more interesting than just a 1-2-3 plot. I feel like I did in "Lonesome Dove" -- that there's a chair for me on the terrace.


This film has been directed by Ed Harris and bears absolutely no resemblance, as you might have guessed, to his (2000) “Pollock”, the story of an alcoholic abstract expressionist. Harris as director allows the actor's screen time to come to life. They do not always rush to meet the requirements of the plot. They are the people before the plot happened to them -- and after that too, those who survived. He has something to say here about the tough men of the Old West and the naive, shy, idolatrous "good" women.

Harris came ready for a gunfight. He just didn't think that was the point. The shooting scenes were handled economically. Everett observes that one firefight is over, and Virgil tells him: "That's because we made a good shot." In the end, things worked out the way I thought they would, and we're not all tied up in emotional bonds or existential fear. I know I want me another piece of that hot cake.

 

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