21st CENTURY WESTERN MOVIE REVIEW -- Meg Mims

I'm wondering if the good old western film genre, the type we loved, with a die-hard American wild west hero like the Duke, or Shane, Jimmy Stewart, or even Clint Eastwood goes up against the villains and toughing it out, who triumphs and survives... you know that type. IS IT DEAD? Have western movies made a comeback?

Let's review the 21st century of western movies, starting with... um. Okay, I had to dig for the ones I'd missed. It seemed dead for a while there. Like, dust. I have to admit there were a lot of TV movies made and miniseries including the remake of Around the World in 80 Days with Pierce Brosnan and Jackie Chan, but I'm talking the big screen. Film - those big reels (now replaced by digital copies) spinning a stream overhead, and a dark theater with those cushy seats, sticky floors, with a bucket of buttered popcorn at your elbow.

1999's WILD, WILD WEST was actually "steampunk" western, when steampunk was first getting hot. Should we classify it as a traditional western? Eh. I thought it was rather fun and Kenneth Branagh sure made a great villain. I suppose it's up for debate. 2000's THE CLAIM had mixed reviews, and SOUTH OF HEAVEN, WEST OF HELL was considered hellish. But let's not forget Jackie Chan, who did a hilarious romp through the old west in 2000's SHANGHAI NOON with Owen Wilson -- who reprised their roles for 2005's SHANGHAI KNIGHTS. It's not the Duke, it's not Paul Newman and Robert Redford, or even Clint Eastwood, but when you peel away the martial arts and acrobatics, the Chinese backstory of Chan's character, the goofiness of Wilson and his fake twang, it's still good guy vs. bad guys and a genuine fun time in the old west -- or in London.

And then the tumbleweed started rolling... although western movie fans had to wait a few years before a slew of western movies started hitting the big screen again. AMERICAN OUTLAWS debuted in 2001, with Colin Farrell and Scott Caan, a remake of the Jesse and Frank James story. TEXAS RANGERS stomped all over Texas history, from what the reviews state. The animated film SPIRIT: STALLION OF THE CIMARRON came out quietly in 2002. Next wwas 2003's OPEN RANGE -- a Kevin Costner film where he wisely included Robert Duvall and Annette Bening. Who wouldn't love a film about the old days of grazing cattle across the open prairie versus the fencers, plus a villain who owns the sheriff and town... it's also on my TBW (to be watched) list. THE MISSING also came out, with Tommy Lee Jones and Cate Blanchett, but I missed it. Glad I missed GANG OF ROSES, though, pretty trashed. And any sequels of that.

In 2004, RENEGADE came out, along with THE ALAMO, another miss (dang!) with Dennis Quaid, Billy Bob Thornton and Jason Patric -- a remake of the John Wayne-Richard Widmark classic made back in 1960 -- along with  HOME ON THE RANGE, a cute and fun animated film from what I heard. All three are also on my list. But not the western horror DEAD BIRDS, though.

Who doesn't remember the success of HIDALGO? It also won a Spur Award for Best Drama Script in 2005. I loved it. The movie may have played off hero Viggo Mortenson's Lord of the Rings' popularity, but he sure can ride a horse and seemed convincing (for a Dane) as Frank Hopkins. The movie is based on a "legend" of a horse race in 1891, in Arabia, pitting an American mustang against pure-blood Arabian horses. Whatever the legend, or half-truths about Frank and the Ghost Dance, it sure made for great storytelling. And Omar Sharif also helped. Such a great actor. Also out that year, the sequel with Antonio Banderas and Catherine Zeta-Jones for THE LEGEND OF ZORRO -- which was nearly as good as The Mask of Zorro back in 1998 with these two. I liked them both. PURGATORY (which won a 2000 Spur Award for Drama Script) had an interesting premise, with a town in the old west where dead legends got a chance at redemption (or failure) before going to their reward (or punishment). I am putting it on the TBW list. Not so BROTHERS IN ARMS, panned worse than 2003's Gang of Roses.

BROKEN TRAIL came next, in 2006, which was marvelous with Robert Duvall and Thomas Haden Church. Another Spur Award winner -- for Best Western Drama Script (Fiction), in 2007 -- and while it aired as a miniseries on television, I couldn't help including it here. It wove two historical events together, the slave trade of Chinese women taken upon arrival in San Francisco to serve as prostitutes in the American west, plus the herding of horses to sell to the British Army at the end of the 19th century. I enjoyed the complex story, the characters, the villains and the bittersweet ending. So great. So much better than the inaccurate, dark and getting progressively darker Hell on Wheels' TV series.

I'm not even going there with The Quick and the Undead. Nope.

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD -- a mouthful, indeed, for a film title, won the 2007 Spur Award for Best Western Drama Script (Fiction) and starred Brad Pitt. That should have made it a mega-hit, except I'd never heard of it. Reviewers certainly loved it. Probably worth a look, since the classic 1939 film with Henry Ford as Frank James and Tyrone Power as Jesse is stuck in my head. I'll have to add it to the list.

Another 2007 film, SERAPHIM FALLS, pitted Pierce Brosnan against Liam Neeson in a revenge-fueled post-Civil War story. I suppose you could say it was sort of a remake of Clint's The Outlaw Josey Wales, but not as good. I still enjoyed the movie. Two solid actors, even if it seemed an endless pursuit with a 'how can they survive so much with all that violence' type of reaction. And hey, Wes Studi was in the film too! Can't go wrong there.

BURY MY HEART AT WOUNDED KNEE also came out the same year, with Aidan Quinn and Anna Paquin, which according to some reviews, is rather an inaccurate account of historical events. Missed this one, along with SEPTEMBER DAWN which dealt with a Mormon massacre.

3:10 TO YUMA brought Russell Crowe and Christian Bale together (or should I say pitted them against each other), in a suspenseful western that may or may not have lived up to the classic with Glenn Ford. I personally prefer Crowe in this movie, who seems more believable as an outlaw. Glenn Ford was too nice! The story is solid, the details authentic, and the gunplay perhaps a bit much but hey, western film lovers have been literally dying to see more films such as this.

And then in 2008, THERE WILL BE BLOOD was set in turn-of-the-century California, with Daniel Day Lewis who won the Academy Award for Best Actor in his role of Daniel Plainview, silver miner turned oil tycoon. It's a pretty dark movie, from what I hear, so I may bypass it. But hey, California *is* in the west after all, and has tons of great history. And another missed film was GONE TO TEXAS with Sam Elliott. Dang. Chalk another one on the list.

Next, actor Ed Harris (also the director, producer, co-author of the script) and Viggo Mortenson starred in the 2009 film APPALOOSA. Friends and mercenary peacekeepers, they were pitted against a villainous Jeremy Irons -- based on Robert B. Parker's bestselling novel. Pardon me if I'm totally out of the loop about Parker's books -- he has a string of best-selling western books. I admit I only saw it because I love Viggo -- although I didn't care for his goatee in the film -- but my feelings were mixed. It seemed a bit convoluted in terms of story, and didn't have much of a point in my opinion. Except -- if your friend kills so you can have a future with the one you love, will she resent you forever? I don't know. The details were spot-on for a western, however. A horror-western also came out that year, THE BURROWERS, a miss in my book, but hey, it was set on the Dakota prairie. THE LAST RITES OF RANSOM PRIDE was seriously panned.

Have you noticed the number of movies coming out each year? YEEHAW!

In 2010, the Coen brothers remade TRUE GRIT in a far more faithful adaptation of the Charles Portis' book. It won the Spur Award for Best Western Drama in 2012. But people complained that Jeff Bridges wasn't good enough to fill Duke's boots. I thought he did a fine job, and I much prefer Hailee Steinfield's portrayal of Mattie than Kim Darby. (Sorry, Kim, you were too old and you should have worn a long-haired wig in a loose topknot, at the very least). Even Matt Damon improved on Glen Campbell's LaBoef. I enjoyed seeing the Duke and Kate Hepburn in the (fictional) sequel, Rooster Cogburn, which came out after the original True Grit film. I have my doubts the Coens will bother. Too bad.

THE WARRIOR'S WAY also came out, along with MEEK'S CUTOFF and JONAH HEX. No idea if they're good/bad.

2011's RANGO was so fun -- and I don't care if animated films aren't seen as traditional westerns. I truly LOVED this movie. What a cool premise -- a green (and greenhorn) chameleon is stranded out west, meets some interesting characters and is seen as an unlikely hero. Loved Roadkill, Iguana Beans and other "townspeople" animals in Dirt -- plus the Spirit of the West... fabulous story, wonderful characters, a good solid and heart-of-gold ending. It may not be easy being green in Rango, but in my opinion Johnny Depp ought to have kept this as his "western tour-de-force" instead of tackling Tonto of the Black-Crow-head.

Another movie that came out that year, BLACKTHORN, begins with an intriguing premise. What if Butch Cassidy didn't die in Bolivia, and is tired of living as an ex-Pat and wants to see his old friends back home? From what I hear, Sam Shepard gives a solid performance. I'm putting it on my TBW list -- although some reviewers say it's nowhere near the Paul Newman-Robert Redford Butch Cassidy and the Sundance Kid romp of the 70s. Still, might be interesting to see. Yup, the list. Not so for THE LEGEND OF HELL'S GATE, despite being based on Texas history, or YELLOW ROCK.

And another -- COWBOYS AND ALIENS -- was a fun romp (at first) in the old west with a visit from an alien race, but took itself a bit too serious in the middle and end. I loved the beginning. Who can fault Daniel Craig for getting amnesia and wakes up with some weird-looking gadget on his arm, that will end up saving the old west town and its residents? And Harrison Ford as a bad guy who is redeemed -- another great plot point, but the mystical part ruined the fun in my opinion. Still, it was good to see the attempt. They tried to make it like Independence Day. Sort of...

I missed all of these 2012 films: DJANGO UNCHAINED which won director/writer Quentin Tarantino an Academy Award for Best Original Screenplay, plus a Golden Globe and a Spur Award for Best Western Drama Script (Fiction). Sam Elliott's I WILL FIGHT NO MORE FOREVER, which is supposedly a far more accurate depiction of the Nez Perce tribe's flight to Canada. Both AMBUSH AT DARK CANYON and DAWN RIDER were not well received. Surprisingly, the "are-you-serious?" hit ABRAHAM LINCOLN: VAMPIRE HUNTER might not have been set in the west, but come on! Honest Abe, hunting fang-studded vamps! That is definitely on my TBW list.

2013 brought in THE GALLOW-WALKERS (another zombie fest, oh no!), A NIGHT IN OLD MEXICO, also with Robert Duvall, SWEETWATER with Ed Harris and January Jones, and the butchery (or scream-fest, depending on your point-of-view) of THE LONE RANGER. Need we say more? Did it put the kibosh (or a slash from El Kabong, for Quick Draw McGraw fans) on future western films? Did it signal the coming wave of comical westerns reflecting the tongue-in-cheek Blazing Saddles?

I rather doubt it, not with this year's coming films THE REDEMPTION OF HENRY MYERS, THE HOMESMAN, THE SALVATION, DOC HOLLIDAY'S REVENGE, FORSAKEN, HOT BATH AND A STIFF DRINK, plus 2015's JANE GOT A GUN and BONE TOMAHAWK plus others. Wow! Keep 'em coming, that's what we say. Don't forget this month's A MILLION WAYS TO DIE IN THE WEST -- it might not be as funny as The Lone Ranger. Then again, it might be better! Hey, Liam Neeson's in it. You might be able to see the whole movie by clicking here.

One thing is for sure. Western films for the big screen ain't exactly dead and buried. Yet.

Award-winning mystery author Meg Mims -- also one-half of the writing team of D.E. Ireland -- lives in Southeastern Michigan with her husband, a 'Make My Day' Malti-poo dog and a sweet Lhasa Apso-mix rescue dog -- the "hero" of Santa Paws. She loves writing novels, short novellas and short stories, both contemporary and historical. She earned a Spur Award, a Laramie Award and an M.A. from Seton Hill University's Writing Popular Fiction program.

The Western: A European Perspective by Tom Rizzo

A few weeks ago, I agreed to an interview with Joachim Mols of Germany who established an international platform for literature he dubbed: bestreaders.de. My interview can be found at Good against evil, law against outlaw in its purest form.

After providing my own perspective on the Western Genre, I thought turnabout was fair play and asked Joachim to answer questions revolving around the same topic. 

Born 1967 in Germany, Joachim studied Politics, East European History and Slavonic Languages in Cologne. Later he worked in advertising.

In addition to the founder of bestreaders.de, he publishes ebooks by various authors, including:  Dudley Buffa, Tanja Vu, and Jean DuMont--all which are available on Amazon. 

Joachim, with a sense of humor, apologized for his English skills, explaining that, "My english is not always the best, because my old teacher in school was ugly and boring and I often was forced to take a nap, and therefore there may occur difficulties."

1. The Western has succeeded in crossing national boundaries. How popular were these stories among German readers?

If we are talking about books, I am not sure whether the Western is still popular in Germany. At least in the libraries I not so often found books of this kind.

Of course, the well-known James Fenimore Cooper was available, but I'm not sure about others. But if we are talking about movies, then I can tell you this genre was and, in my opinion, still is very popular in Germany.

Just for fun I went to Google and searched for Western Clubs or Country Clubs in Germany. I got 330 000 matches. Looking for Western Associations I got even more. At carnivals you will see many Germans dressed as Indians or Cowboys.

2. Two German authors come to mind when it comes to stories of the Old West. The first is Karl May. As I understand it, his books have outsold all other German authors, but he is relatively unknown in the United States. What can you tell us about May and his perspective of the American West?

Karl May was born 1842 and he died 1912. He wrote adventure novels set in the Near East and in the American West. He had never visited these countries, but since he was an excellent writer, the youth would read him. It is said, that American soldiers were astonished to see young Germans play cowboys and Indians after the war.

His idea of the American West is formed by an undogmatic Christian view. His most important hero is the Indian Winnetou who became blood brother of Old Shatterhand (a German traveler, later said to be Karl May himself). 

Winnetou behaves as a gentleman, as a Christian. He fights against evil and his religious beliefs are shaped after the example of Christianity. For example Winnetou believes in Manitou. This means he is monotheist. After death he will gain the afterlife. In his case, we only speak of the happy hunting ground (ewige Jagdgründe)--that is the difference.

As a child of nature, he has wisdom and he is more intelligent as the “palefaces” (the Indian word for the white man). Winnetou is the old European dream of the primitive man, which is more European than the Europeans themselves. Untouched by civilization he has really found the sense of life.

3. One of the most prolific German western writers is G. F. Unger who, according to at least one source, wrote more than 740 western novels. What can you tell us about him? 

I have never heard about G.F. Unger. But this is not a surprise. In Germany we have a very strong separation between light fiction and serious literature.

Serious literature is Thomas Mann, Bert Brecht or Hemingway. Of course kids are able to read literature for kids. Therefore Karl May is well-known. 

But adult German intellectuals - and everyone wants to be intellectual - would never say in public that they would read light fiction. They are forced to buy this kind of literature under the counter as Al Bundy is forced to buy his beloved nudie magazines under the counter.

The publisher of G.F. Unger happens to be a popular publisher of light fiction. 

4. Western novels often reflect the so-called Code of the West, an unwritten set of guidelines for fair play, respect for the land, hospitality, and loyalty. While this concept plays well in Western novels, what is the German perspective of this Code as it applies to present-day America?

In Germany, and I would say also in Europe, there were always two kinds of America. The beloved one is the one, where the people spend their holidays (vacations), where great movies are made, where good music is played.

In this America there you can find hospitality and loyalty. There, the people help each other. For example the Germans were astonished how well the city of New York managed to survive the hardships connected with the big hurricane of the last year. 

The other side is that Europe was always skeptical about capitalism. In this view, America - as the inventor of capitalism - is a land without solidarity. And, of course, loyalty and hospitality do not exist there. The only guideline there is money.

The third point is actual policy making. With regard to the Kyoto Protocol, nobody believes the Americans love nature. (Of course everyone knows that there are National Parks, but logic thinking is not always and not everywhere popular).

With respect to fair play, there surely exists the first America in German minds, but today in public more often is spoken about Edward Snowden.

5. The Western novel--which often blends elements of different genres--has long been underrated in American literary circles. Where does the Western rank in terms of popularity among German readers and how have they shaped the typical German viewpoint of Americans, in general?

If we are speaking about the German reader, we have again the problem of light fiction. Looking in libraries for something in between light fiction and serious literature, I very often find criminal stories or legal thrillers. So I would say there is a market for the Western Genre, but this market is smaller than the market for criminal stories. 

The most important German Western is Karl May, as I mentioned. He had several effects. First: Since Winnetou is our hero, the Americans are seen as people who stole the land from the Indians.

Second, since the Indian friends of Winnetou are more intelligent than the “palefaces,” the Indians have nowadays a better image.

Third, and this is of course also connected with the influence of the movies and very important, since Karl May and his epigones wrote adventure stories. 

The time of the American Frontier is always seen in the light of fighting, of conflicts. The normal hardships of settlers are seldom seen. Therefore the Cowboy is very often seen as the man with the gun. Of course there is also the idea of freedom connected with the cowboy. At least the Marlboro Man was successful also in Germany. But nevertheless I would say the image of the cowboy formed by German adventure stories and by American movies is more negative.

6. In a 1972 interview with Oriana Fallaci, former Secretary of State Henry Kissinger said: "I've always acted alone like the cowboy … the cowboy entering the village or city alone on his horse … He acts, that's all." This comment, for the most part, reflects the myth, or tradition, of the American cowboy. But how does it play among Europeans in their perspective of American politics?

This is a very difficult question. It is clear that the picture of the American Cowboy is, in the political sense, negative in Germany. George Bush, for example, was often portrayed as a Cowboy and this was of course not a compliment.  It was a form to criticize the Iraq War.

Generally speaking, in Europe, negotiating is always better than the use of force. We have survived two big wars and many smaller ones and therefore Europe tends to some kind of pacifism, and therefore also to some kind of collective action. But, there is also another problem. 

The American Frontier is referred to in German as the Wild West. I guess this has something to do with our history. In short the European history develops around the question how to make the government and the state more effective. Already Platon (Plato) thought about this. In his Politeia, justice can be observed in the state (Republic). The state is the one that guarantees the moral strength. Living without a state, in his view, would be the end of civilization.

Acting as if still living in the wilderness is for Europeans something they don`t like. Therefore Kissinger argued in a fatal way.

7. Euro-Westerns (Spaghetti Westerns) - such as Sergio Leone's "Once Upon a Time in the West" (1968) - provided a new perspective for the Western, and on the West, in general. They forced a new level of viewing of the Western tradition. How did the German audience react to this new reality?

I said that there are two Americas in the German mind; the good and the bad one. After the war America was idealized, but during the era of Vietnam War and Flower Power, the balance shifted to a more critical view of the United States. 

After the war, the Western Genre with John Wayne for example idealized the American Frontier, idealized the hardships of the settlers, their hospitality, loyalty, your codes of guidelines.

The Spaghetti Western was more critical of the American Frontier. To Leone, the Frontier was an irony. Therefore I think the Spaghetti Western came in time. At least I know that Leone and others were very popular in my generation.

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