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This is one time that I have to seize exception to the house reviewer. Yes, it’s an valuable portion of American cinema. Yes, it’s one of Peckinpah’s best films. But the review overlooks so mighty.
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This was the cinematic swan song for two more-than-noteworthy stars of quintessentially American movies. Joel McCrea and Randolph Scott both turn in blooming performances, as do the extras– notably Peckinpah regular (and perhaps the most under-appreciated American actor ever to grace the mask) Warren Oates. And you don’t have to watch swiftly for him, folks. He’s a immense allotment of the film.
In a arrangement, Wobble the High Country was deconstructionist before Unforgiven ever hit the broad screen– by thirty years or so. Like Eastwood’s hit, the film manages to yelp reverence for and contempt of the mythology of the American West at the same time. All the stock players are here, but never presented as stereotypes. Bankers, prostitutes, prospectors, missionaries, young bucks, lawmen, hucksters and outlaws. Anyone familiar with westerns knows the drill. Only this time it’s different.
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Though recognized as a genius, Peckinpah is unbiased as often derided as a misogynistic Hemingway-wannabe these days. What a shame. This film is no macho fantasy. Instead, it’s a seek at the seemingly inevitable (and lamentable) decay of principles that results when high-minded people bag themselves in a site and a setting that doesn’t conform to their preconceptions of how things ought to be (Straw Dogs, anyone? ) — and what happens when they ‘return to normalcy’ in the wake of atrocity. When everything’s on the line, one might unprejudiced be faced with the sort of challenge to faith (in anything held dear) that we all anxiety confronting. Stand apt and lose it all, or sell out and fetch? Or is there an easy out? This would be a theme throughout the director’s work, but here it is ingeniously presented in an ostensibly straightforward horse opera that cleverly plays on viewer expectations. What appears to be another entry in a breezy, escapist genre ultimately reveals itself to be a meditation on honest how difficult it is to ever run the travails of life. And how worthy it can cost to enact that same goal.
As distinguished as the film points an accusing finger at the western, there are many ways in which the director expresses his maintain sense of hope that such fairy-tale wishes could reach moral. Guess I’ll have to choose for the Police Academy box dwelling while I wait for this one to turn up on DVD…..
This is what they mean when they say, “they don’t gain them like that anymore.” With all the praise inexplicably heaped on a share of crap called “A History of Violence”, a ridiculous, mindless film, based on a barely literate cartoon strip, you often wonder exactly what has happened to American films – which worn to be the envy of the world for their craftsmanship and acting. “Amble the High Country” was apparently considered a very gracious exiguous “B” movie in its first release – but time and care now reveals it to be an American classic. Two terrific actors, in their blooming twilight, working with an upcoming director, team up for a beautifully crafted, gorgeously filmed and scored, Western about character and justice. TCM has been showing the widescreen version of this gem for a couple of years – and now here it is where it belongs – on DVD for every just film fan to spy. Forget Tarantino’s mindless violence. Forget the expeditiously cuts and lack of storytelling talent of practically every film director in the business suitable now: this is how it is done, and the director of this film never did as well (he too lapsed into cheap “dead motion” violence and other inhuman traits as his absorb film career lurched on) . Here we have a fable told with depth and clarity – and HUMANITY. Scott and McCrea are two immense stars who know something about manhood, decency, wit, grace, and strength. Where are these kinds of films now? Where are the male actors who can inhabit these roles with some degree of class, grace, and strength? Why can’t ANYONE do a simple, certain, human Western, as it was once done, which often had so powerful to say about contemporary times (”High Noon,” as one example)? At least we have this and you can’t argue with it: a spare, lovely Western, with one of the gigantic climaxes in film history. A MUST!
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