OPEN RANGE (Kevin Costner, Touchstone, 2003)

A subtly quiet film upon its release, OPEN RANGE (Kevin Costner, Touchstone, 2003) is a good film, a really good western and a great example of a film that encompasses the myths, conventions and iconography of the genre throughout the various periods of filmmaking in Hollywood. Starting with a tried and true western formulaic narrative, the film has good casting and acting with both resulting in great chemistry. It also makes use of contemporary trends in the genre as well as taking advantage of technical advancements in filmmaking giving the film added quality and depth. If Costner's epic film DANCES WITH WOLVES (Costner, Orion Pictures, 1990) is credited with revitalizing the western genre then OPEN RANGE is a nice extension in his directing career. OPEN RANGE is reminiscent of classical Hollywood westerns particularly in regards to thematic content, narrative and casting. Thematically the film deals with traditional western themes such as good vs. evil and westward expansion and the American settler. The narrative works within the same constraints as the thematics. Casting is a big area where the film hearkens back to classical Hollywood. The film employs three stars and the chemistry between the stars, particularly between Boss Spearman (Robert Duvall) and Charley Waite (Costner) is excellent. Audiences can believe these two cowboys are men of their word, are men of action and will triumph in the end. A really great job of casting for this film. Moving forward to the modernist period of filmmaking the film uses extremely violent scenes and action to enforce the narrative. The film reminds me of the modernist classic THE WILD BUNCH (Sam Peckinpah, Warner Bros., 1969). Anachronistic and aging men committing violent actions, adhering to a code and life that is passing them by quickly. In OPEN RANGE this violence simmers just below the films surface until it explodes with Charley shooting the hired gun Butler (Kim Coates) point blank in the face. I cannot recall a western ever being so blatantly forward with a shooting and like THE WILD BUNCH this jarring violence elevates the film to an entirely different place. It's quite remarkable and it's a scene that I look forward to when watching the film, primarily because it is so jarring. Jarring in its own way is the postmodern use of sound for effect. The film uses loud and blasting gun shots to help drive home the action in the narrative. Not to be left out of the gruesomeness, Boss Spearman shotgun blasts a guy through a wall. The sound of the shotgun blast is extremely loud, elevated even, and the man flies a good five feet after being shot. This hyper realism, a supremely stylized moment gives the film that perfect postmodern feel. I really like this film. I am a big fan of Costner and Duvall. I love the western genre. And there is just enough elements scattered from here and there to make my film sensibility happy. Great film.