Review of Appaloosa (2008) by Andy B — 24 Jan 2010

(***1/2) Appaloosa is truly something you don't see every day: an exemplary classic Western. I don't mean that the plot is totally formulaic, but rather that it maintains a mood and moral code similar to that of the 1960's Westerns, which I consider the genre's peak decade. Of course, thanks to the spaghetti Westerns and influences of new faces such as Clint Eastwood, the Western later began to reinvent itself as a darker and more introverted genre. This new incarnation most likely hit its peak with the Eastwood classic Unforgiven. Now, in our modern day, Westerns are beginning to combine the classic feel of the older films with the moral explorations of the newer ones, and the result is films such as 3:10 to Yuma and this new addition, Appaloosa.

The story opens with with the murder of a lawman by an undoubtedly heartless criminal and ranch owner. We later discover this man to be an arrogant and learned man who has recently arrived from back East named Randall Bragg (Jeremy Irons). Then we cut to Everett Hitch (Viggo Mortensen) telling of how he met Virgil Cole (Ed Harris) then joined him to form their "peacekeeping" duo. Once they reach the town of Appaloosa, we discover they are essentially guns for hire who happen to work on the side of law and order. Virgil first makes the local government give him full authority by signing a contract that whatever he says is law, is law. (Patriot Act anyone?) Then they set out to take in Bragg and any of his men who cause trouble.

Then comes the downfall of any great but fallible Western character: a woman. This woman's name is Allie (Renee Zellweger), and she is the epitome of an emotionally out of control female. No matter what the situation she feels drawn to "the boss stallion," as Everett puts it. Most of the time that man is Virgil, with whom she decides to build a house and settle down. But their happiness cannot last, as Virgil continues to have power struggles with various villains.

Ed Harris is an actor whom I have seen little of. Perhaps this is simply due to my own ignorance of the film world, but he has for the most part eluded me. However, he has a persona which is so powerful that it makes him steal the screen in most of his roles. My personal favorite which I've seen to date was his character in A Beautiful Mind, who comes to represent all the trouble the main character faces. In this movie, he is a hardened gunman who is a sentamentalist at heart. Very reminiscent of the classic Western protagonist. It's only a matter of time before this guy accidentally shoots an innocent bystander and becomes an alcoholic then sobers up to save a town. But even as I say that I feel that the wisdom and calm manner around the character of Virgil says that maybe he's already been through that phase of his life. Maybe now he's just trying to find some happiness in the world to overshadow his depressing line of work.

Viggo Mortensen continues to impress me more and more. I heard he was excellent in The Road, which I have not seen, and he is most certainly excellent in this film. It is Everett's strong silent personality which forms in our minds the type of relationship he and Virgil have. While their exchanges are brilliant in great part because of great writing, Mortensen's acting puts the period on the end of the sentence. These two men have been together for a long, long time, and while they truly have little knowledge of each other's pasts or other real information, they know each other better than two normal people ever could. My favorite conversation is when Virgil says, (NOT exact quoting here) "We better ride up there and see what those two fellows are doing." "Can I finish my coffee first?" says Everett. "You surely may.".

I know I've talked way to much about acting and characters here, but that's truly what this movie is based on. Lastly, Jeremy Irons is an excellent bad guy. He's a mixture of two Western classics, the suave newcomer with friends in high places, and the underhanded ranch-owner with a band of gunmen he uses for his dirty work. He constantly asserts his intellectual superiority on Virgil, who for the most part tones him out. Everett says little, but his vocabulary contributions throughout the film suggest he may be a much smarter and more educated man than we think, and this helps to downplay the superiority of Irons's character. Alright, done with characters.

As far as plot structure, Appaloosa is fairly conventional, but has a few turns you may not expect. Also, it's gun fights are a bit sudden and underdramatized, which makes them feel more real. Not to say the fights aren't built up, they've been built up for several scenes, but rather when they do occur the characters don't stand there staring at each other for twenty minutes. They take care of business and move on. It's this realistic attitude of the leads which solidifies the mood of Appaloosa, making us even more interested in who lives and dies.

A classic premise, classic characters, and a classic ending make Appaloosa a perfect addition to the genre. I wish there were more like it in today's time. I think today's audiences, in times of hardship and political uncertainty, are ready for more old-fashioned right and wrong stories. Because what is a Western in essence? It is a moral opera, an exploration of psychology and ethics. Appaloosa may not be a new twist on the genre, but it is a much appreciated gift in our modern era of ambiguity. Major props to Ed Harris. See it when you get a chance.