Robert Duvall is what makes this movie as good as it is. The man is a national treasure, and, sadly, I suspect, he won't really be fully recognized as such until after he's dead and gone. But in the meanwhile he just seems to just get better and better with age.
But this movie isn't Robert Duvall's movie. Actually, and in truth, this is Kevin Costner's movie. Costner is the director and he's the top-billed star. In any Kevin Costner movie he brings certain things to the table. The problem presented with that is the simple fact that not all the things Costner brings to the table are good things. Left unchecked, Costner is apt to come across as a self-absorbed ham. But when there's someone else present --a strong other actor-- to act as a counter-balance on those undisciplined Costner tendencies, a force to filter that stuff out, a force to help Costner sublimate his ego, Costner is fully capable of turning in a decent performance, blending his performance seamlessly with the rest of the cast. For instance, in A Perfect World that countervailing force was supplied by Clint Eastwood, and Costner did well there. Here, in Open Range, it's Robert Duvall that keeps Costner reeled in, and as a result Costner delivers the goods.
The third major player in this film is Annette Bening. I must say that this is my favorite Annette Bening performance. She was quite fetching, in her 45-year old way.
The whole cast delivers the goods, good performances all the way around.
The story unfolds methodically, almost slowly, but not so slowly as to become boring. By unfolding in this way, we are given a chance to get to know the characters. The movie is essentially a character study as much as it is anything else, and so then, when the climactic scenes are finally reached, where all the conflicts are resolved, literally and figuratively, we have the benefit of knowing and understanding these characters, making that climax all the more entertaining and satisfying. As is customary among classical westerns, the climax is achieved via a gunfight. In Open Range it's a full-blown shootout, and as depicted here is as realistic an old west shootout as you'll ever see.
Duvall's character, Boss Spearman, is a good man, a principled man of integrity, hardworking, polite, and fair. A man of few words who doesn't mince words. He says what he means, and he means what he says. He's kind and he's loyal. They didn't use the terms "role model" or "mentor" back in the days of the old west, but that's what Boss is to the men under him, and Boss takes the responsibilities that go with that seriously.
One gets the feeling that Sue, the Annette Bening character, might actually be interested in Boss if their ages weren't quite so far apart, but she recognizes that Charlie (Costner), a man with a dark history, is seriously working hard to be a better man, a good man like Boss, so Charlie thereby becomes a viable option. But if it weren't for Boss's influences on Charlie, it's hard saying how good a man Charlie would be. Or whether his demons from his past bad acts would eat him alive.
Good and kind man though he is, don't make the mistake of wronging Boss Spearman, and especially don't hurt his friends or ones he cares about. Those were the mistakes that Baxter (Michael Gambon) and his "bought and paid for" sheriff Poole (James Russo) made.
A very good western, maybe the best western since Clint Eastwood's The Unforgiven. I'd say it's a good "old-fashioned" western, except I don't think they made very many of them this good, or in this way, way back when either. It goes down as one of the best of the genre, and it is a source of hope --hope that Kevin Costner can and will grow and evolve into a first class director and actor, and hope that the Hollywood western isn't really dead after all.
But this movie isn't Robert Duvall's movie. Actually, and in truth, this is Kevin Costner's movie. Costner is the director and he's the top-billed star. In any Kevin Costner movie he brings certain things to the table. The problem presented with that is the simple fact that not all the things Costner brings to the table are good things. Left unchecked, Costner is apt to come across as a self-absorbed ham. But when there's someone else present --a strong other actor-- to act as a counter-balance on those undisciplined Costner tendencies, a force to filter that stuff out, a force to help Costner sublimate his ego, Costner is fully capable of turning in a decent performance, blending his performance seamlessly with the rest of the cast. For instance, in A Perfect World that countervailing force was supplied by Clint Eastwood, and Costner did well there. Here, in Open Range, it's Robert Duvall that keeps Costner reeled in, and as a result Costner delivers the goods.
The third major player in this film is Annette Bening. I must say that this is my favorite Annette Bening performance. She was quite fetching, in her 45-year old way.
The whole cast delivers the goods, good performances all the way around.
The story unfolds methodically, almost slowly, but not so slowly as to become boring. By unfolding in this way, we are given a chance to get to know the characters. The movie is essentially a character study as much as it is anything else, and so then, when the climactic scenes are finally reached, where all the conflicts are resolved, literally and figuratively, we have the benefit of knowing and understanding these characters, making that climax all the more entertaining and satisfying. As is customary among classical westerns, the climax is achieved via a gunfight. In Open Range it's a full-blown shootout, and as depicted here is as realistic an old west shootout as you'll ever see.
Duvall's character, Boss Spearman, is a good man, a principled man of integrity, hardworking, polite, and fair. A man of few words who doesn't mince words. He says what he means, and he means what he says. He's kind and he's loyal. They didn't use the terms "role model" or "mentor" back in the days of the old west, but that's what Boss is to the men under him, and Boss takes the responsibilities that go with that seriously.
One gets the feeling that Sue, the Annette Bening character, might actually be interested in Boss if their ages weren't quite so far apart, but she recognizes that Charlie (Costner), a man with a dark history, is seriously working hard to be a better man, a good man like Boss, so Charlie thereby becomes a viable option. But if it weren't for Boss's influences on Charlie, it's hard saying how good a man Charlie would be. Or whether his demons from his past bad acts would eat him alive.
Good and kind man though he is, don't make the mistake of wronging Boss Spearman, and especially don't hurt his friends or ones he cares about. Those were the mistakes that Baxter (Michael Gambon) and his "bought and paid for" sheriff Poole (James Russo) made.
A very good western, maybe the best western since Clint Eastwood's The Unforgiven. I'd say it's a good "old-fashioned" western, except I don't think they made very many of them this good, or in this way, way back when either. It goes down as one of the best of the genre, and it is a source of hope --hope that Kevin Costner can and will grow and evolve into a first class director and actor, and hope that the Hollywood western isn't really dead after all.