I never thought I would praise a film that violates history as much as this one does, but .... watched Blackthorn the other day. The film doesn't need to use the mythology of Butch and Sundance to give it a grounding, because the story would ring true emotionally even if the characters were anonymous. The filmmakers could have changed the names and the film would still hold up. This is a first-rate drama and an impressive modern western, quiet instead of noisy, introspective instead of shallow, character-driven instead of action-driven, with fully rounded characters and a suspenseful chase plot. Once you start watching you'll be glued to the screen to see how the story pans out. Sam Shepard was born to star in westerns, and he brings gravitas and authenticity to the retired outlaw on his way home who gets sidetracked and must flee for his life once again. He is an admirable western lead; I wish he'd starred in dozens and dozens of westerns over the years. Eduordo Noriega, who is a star south of the border and in Spain, plays the bandit who unwittingly causes all the trouble and tries, in his way, to make up for it. I dislike flashbacks as a rule, but they do work here, as memories of past ordeals intrude into Blackthorn's present to suggest that history is repeating itself.
The Bolivian landscapes are a fresh presence on the eyes, breadthtaking and true western. Director Gil Mateo's aesthetic is commendably austere and spartan. He locks the camera down and offers uncluttered compositions of landscapes, towns, and faces. He shoots with fixed lenses under natural light, giving the image a warm glow.The film is shot in High Definition on Sony's AlteCine f23, which means it looks better on the luminosity of a home monitor than projected on matte screen in theaters. He makes sure the gunfights are felt, and he keeps the confrontations interesting.
The film has a lot of heart. There is no nihilistic posturing like in a Clint Eastwood western, no political correctness like in The Alamo (2004), no gender deconstruction like in The Missing (2003) and The Legend of Zorro (2005), and no whacko / psychotic feminist agenda like in Meek's Crossing (2011). Today, it is a virtue for any film to be straightforward and traditional. There is no nonsense and no wasted frames in this elegant beauty of a western.
Why can't there be more westerns as good as Blackthorn on the big screen, say once a month?
Richard
