Ritt im Wirbelwind

Monte Hellman's "Ride in the Whirlwind," while not quite as good as his masterpiece, "The Shooting," is still an endlessly fascinating meditation on the old West. Hellman's Westerns are almost antithetical Westerns since they stress allegory and atmosphere over character and plotting. Not for every taste, this film has a lot to admire, not the least of which is Jack Nicholson's fine script and performance.

This independent and offbeat film deals with three cowboys who are mistaken for members a band , then they're wrongly pursued by a relentless posse . This outlandish Western is finely set against barren backdrop and well photographed outdoors . Slow-moving , a little boring , however being packed with exciting pursuits , strong performances and noisy gunplay . Written , starred and produced by Jack Nicholson along with an uncredited Roger Corman . Made concurrently , back to back , with ¨The shooting¨ with the same cast (Millie Perkins, Jack Nicholson) , cameraman (Gregory Sandor) and maverick director (Hellman) . Slammed by the intelligentsia when it was released , today become a minor cult movie , as well as ¨The shooting¨ .

The motion picture was professionally directed by Monte Hellman (Two-lane blacktop , Cockfighter) in his usual visual style . His stars are similarly independent-minded actors such as Jack Nicholson , Harry Dean Stanton and Cameron Mitchell . From his two known strange , outlandish Westerns in which Hellman directed in rare as well as special qualities , he has remained fiercely independent with lukewarm reception by public, but praised by critics . In his first films he teamed up Roger Corman who produced his earlier movies with a relative success , however nowadays he only makes fateful B movies and failure television movies .

Former Roger Corman collaborator Monte Hellman directed two of the most underrated American movies of the 1960s/70s 'The Shooting', a puzzling western starring Warren Oates and Jack Nicholson, and the existential road movie 'Two-Lane Blacktop'. 'Ride In The Whirlwind' was shot simultaneously with 'The Shooting', and while it isn't as impressive as that film it's still very good, and one of the most underrated Westerns of the 1960s. Jack Nicholson once again stars, and also scripted. He and Hellman made a great team, and it's just a pity that they didn't continue to collaborate. A few other actors from 'The Shooting' also appear, most notably the sultry Millie Perkins, though she has a much smaller role in this one. Nicholson is ably supported by legendary character actors Cameron Mitchell ('Hombre', 'The Klansman', 'The Toolbox Murders') and Harry Dean Stanton ('Cool Hand Luke', 'Repo Man', 'The Last Temptation Of Christ'). Watching these three guys work off each other is reason enough to see this. (Also hunt down the Bruce Dern biker obscurity 'The Rebel Rousers' which they all appear in, thought it's nowhere near as good) Hellman's westerns are minimalistic and a bit of an acquired taste, but I really like them a lot. 'Ride In The Whirlwind' is easier to get into than 'The Shooting'. It's more straightforward, but still a very subtle and interesting movie, and Nicholson and Mitchell's contrasting acting styles bounce off each other really well. Recommended.

A trio of cowboys, Vern (Cameron Mitchell), Wes (Jack Nicholson) and Otis (Tom Filer), stop to rest for the night at the remote hideout of a gang of outlaws led by Blind Dick (Harry Dean Stanton). In the morning, they find themselves surrounded by a vigilante hanging party and are forced to become fugitives due to a case of mistaken identity.

Made back to back with "The Shooting", this is the second Monte Hellman, Jack Nicholson and Roger Corman collaboration of 1966. With Nicholson writing, starring and producing, fans of his films ought to make a point of seeing this, one of his earlier creative ventures.

The point of making a second western back to back was to save money. Corman, always trying to cut costs, figured it would be less money to have the same set for two films, especially if the actors and crew largely overlapped. Hellman has said this plan may not have worked as well as intended. He concedes they saved money on travel expenses, but the film cost itself hardly changed. Of course, when you're dealing with $75,000 for a movie (almost an unthinkably low sum), how much wiggle room can there be? This film expresses a rather bleak, minimalist quality that does not sentimentalize the Wild West. On the other hand, the violence is portrayed less graphically than in the films of Sam Peckinpah like "Pat Garrett and Billy the Kid" (1973). Was Peckinpah inspired by Hellman? Perhaps, considering that Rudy Wurlitzer had written Hellman's "Two Lane Blacktop" just prior to working with Peckinpah.

A couple of cowboys end up with a lynch-happy posse on their tails after being mistaken for members of a murderous band of stagecoach robbers. Monte Hellman's short, spare 'vigilante justice' tale is pretty good for a low-budget oater (shot back-to-back with 'The Shooting' to save money) but is likely best known for an early starring role for Jack Nicholson (who also wrote the story). Nicholson and western regular Cameron Mitchell (Uncle Buck in the great TV ranch-saga 'The High Chaparral' (1967)) are quite good as the two drifters trying to stay alive and the rest of the cast (including the always watchable Harry Dean Stanton) are serviceable. The story is lean, simple but interesting, the desert cinematography is nice, and 'action sequences' are well done. Typical of a Roger Corman project, the film is very good considering the resources available.