Monte Walsh (2003)

Monte Walsh

Obligation fulfilled!  As I mentioned in an earlier blog post, I promised my mother I would review the trio of Westerns Tom Selleck made for TNT in the late 1990s and early 2000s.  The result was a bit mixed.  Last Stand at Saber River really wasn't that great, though it certainly had its moments, while Crossfire Trail was much better, though still not a classic.  But what these Westerns revealed to me was that the genre is not dead.  The films were well-reviewed and performed quite well in the ratings, and proved that if you put some work into it, people still love a good ol' fashioned Western, especially if you put someone like Tom Selleck in the saddle.

And now we have the third and final film in the trio: Monte Walsh.  Monte Walsh is a cowboy at the turn of the century, but times are changing.  Civilization is coming to the Wild West.  Railroads are now the primary method of traveling.  More and more of the open range is being fenced in by corporations every year.  It is clear that the age of the cowboy is ending.  Will Monte Walsh be able to change with the times, or just end up as a dinosaur in a world of automobiles and Wild West Circuses?

At first, I was a bit disappointed by this movie because not much happens and it is depressing.  Maybe too bleak.  But as I settled into it, I realized this was unlike any other Western I've seen.  This isn't about everything you would expect a Western to be about.  This isn't even about 'progress' and 'civilization,' which we've seen in dozens of Westerns.  Monte Walsh is about how 'progress' affects those who lived and thrived in the earlier world.  Cowboys don't know how to do anything except cowboy.  But given that times are a'changing, there is no work.  A few of the best like Monte find work on a ranch, but most of these former giants of the range are reduced to wandering the horizon, endlessly looking for any sort of job.  This is a bleak, bleak movie and really shows what people can be reduced to in tough economic times, whether it is in the 1890s or today.  And as the film finished, I had to tip my hat to a production well done and to a point well made about the passing of an age, and all the coolness we lost when those days ended.

Monte Walsh is well directed by Simon Wincer, who also directed Crossfire Trail, as well as the classic TV miniseries Lonesome Dove.  His skilled hand at Westerns is clear, giving the movie a cinematic quality.  The cast is superb, with Tom Selleck ably supported by pros like Isabella Rosselini (Blue Velvet), Keith Carradine (Last Stand at Saber River), George Eads (CSI), William Devane (Payback), John Michael Higgins (Best in Show), as well as a great cast of character actors who put in great work.

The film isn't perfect.  I was a fan of George Eads' Shorty character, for example, but don't really like the way his storyline plays out. I understand why it happens, but I feel it all happens much too quickly to be believable.  You'll know what I mean when you see it.  I don't want to spoil anything.

But other than that, I found myself watching a minor classic.  I think Selleck should get back on the horse before he gets too old and make a few more of these.  He's one of the last actors we have who can convincingly be a real cowboy.

BEST LINE: 
Monte Walsh to a horse he is about to try and break in: "When we get through, all you're gonna want to do is take a nap, sit on the porch, and wait for all the mares to come calling."

MVP:
The MVP award goes to Isabella Rosselini, who plays Martine, a European stuck in the rundown Western town and Monte's true love.  Martine really is not a deep character on paper.  She basically just sits around, waiting for Monte to show up and then graciously understands when he leaves, which is kind of lame.  But something about Rosselini's performance brings true dimensionality to her.  She's not just a cardboard cutout, a stereotypical "suffering wife" of Hollywood who is accepting of her man's oddities because that is what the script demands.  Rosselini's Martine is an understanding woman because she knows she has no choice.  Monte is going to go wandering off to Canada no matter what.  But she is stuck in this dreary world, in which Monte is the only bright spot.  It's no wonder she lights up whenever he shows up.  But the pain of that decision is clear in her eyes.  It is subtle and beautiful work.  Add to this the fact that Rosselini's natural charisma and sensuality makes her more alive and sexy at 61 than most of the plastic babes half her age in movies today, and you have a clear MVP winner.  Go Isabella Rosselini!

TRIVIA:
Based on a book by Jack Schaffer, the guy who wrote the classic book, Shane.  (P.S. I review the movie of Shane right here.)

Last Stand at Saber River

Last Stand on Saber River

When his big screen career began to flounder in the 1990s with movies like Mr. Baseball and the underrated Quigley Down Under, Tom Selleck returned in television, a domain he once dominated as Magnum P.I.  He's made several TV films since then, but I would argue that his most memorable were a series of Westerns, including Crossfire Trail and Monte Walsh.  The first of these Westerns was Last Stand at Saber River, based on a book by Elmore Leonard and featuring a solid cast with Selleck, Suzy Amis (Titanic), David Carradine (Kill Bill), Keith Carradine (Nashville), Harry Carey, Jr. (The Searchers), and a very young Haley Joel Osment (The Sixth Sense).

Paul Cable (Selleck) returns home from the Civil War to a world that thought him long dead.  If he was hoping to return home to a blissful family life, he was sadly mistaken.  His wife, Martha (Amis) resents him for leaving and is extremely bitter from having lost her baby to fever - all her pent-up anger is thrown in Cable's direction.  To make matters worse, Cable's family ranch is overrun by the Kidston family, including sensible Vern (Keith Carradine), the belligerent Duane (David Carradine) and refined Lorraine (Tracey Needham).  As if all this wasn't annoying enough, Confederate sympathizer Edward Janroe (David Dukes) is smuggling new and fancy rifles to the Confederacy and keeps hassling Cable to help him.

This all sounds like an interesting premise, but the film never lives up to its potential.  Unlike Crossfire Trail (reviewed here), Saber River never really feels like anything other than a little TV movie, with blah blah writing and blah blah directing and for the most part even blah blah acting.  Nothing is really developed as it should be.  The Kidstons are set up to be interesting antagonists - Vern isn't bad - he's just trying to run a business, and Duane is just a little crazy in the head.  But we hardly get to see Vern and Duane; instead we are treated to a random subplot about Lorraine trying to seduce Cable, a story thread that is dead on arrival and just a waste of time and logic.  And Edward Janroe is such an annoying and unlikable character that I'm surprised he wasn't shot in the first 5 minutes.  Ugh.

And I was surprised by the end - minor spoilers here - even though Cable has been shot in the gut during the climactic fight, he and his wife share their feelings and reconcile.  I'm fine with that.  But then Martha makes some subtle comment about the bedroom and the two walk into the house as the film fades to black, I assume for some makeup sex.  Didn't he get shot?!?!?  Why aren't you going to a doctor??!??!?!

Sigh.  Anyway.  So does the film get anything right?  Of course, it does.  Though most of the acting isn't that great, we do have a small collection of good performances in here, with Selleck leading the pack.  He may not be Wayne or Eastwood, but he makes for a great cowboy.  I also enjoyed Amis and both Carradines, especially David.  I also like how the film handles the Civil War.  Westerns are full of former Confederate heroes who now get a second chance at those 'Yankee bastards.'  I rarely see it other way around and I'm not sure why that is.  At first, I thought that was where Last Stand at Saber River was going, especially since Duane is a former Union officer.  But that is not what happens.  Part of Cable's guilt is not that he lost years away from his family because of the war; it's that he sacrificed so much for nothing because deep down, he knows he was fighting on the wrong side.  And the script and Selleck's performance is very subtle on this point.  It's intriguingly done.

But that's not a reason to see a whole movie.  If you love Tom Selleck or Westerns, then check it out.  For everyone else, I would definitely avoid it.

MVP:
Even though he is hardly in the movie, I have to say David Carradine.  He makes an impression in a very small amount of screen time.  Duane Kidston is an interesting character.  Drummed out of the Union army, he is still obsessed with it - he always wears his uniform and even grows a beard that resembles Ulysses S. Grant's famous facial hair.  Supposedly, he is sadistic, but his bark is really worse than his bite.  They could have done so much more with this character and with Carradine.  It is one of the film's biggest wasted opportunities. But I'll still give him MVP for his potential...

BEST LINE:
Cable: "I know one thing, I don't wanna live with a woman who don't like me.  Think on it."