Zandys Braut

I had read the book, and was looking forward to the movie.

Happily, I wasn't disappointed.

Zandy's Bride is the story of an unsociable, uncivilised, isolated man who sends for a mail order bride.

He has little experience around women other than his mother and treats his new wife rather badly.

It is an interesting character study of two people thrown together, and how they adapt to their new life together.

I really enjoyed this movie. It reminds me of some of the romance novels that I've read, especially those by Maggie Osborne. She writes very nice western themed romances. Like hers, this movie starts off with an unlikely pair who fall in love eventually after the usual stuff...cheating, overcoming stubbornness, and so on. Just a nice, entertaining and endearing movie that should be thought of and viewed as just that.

By 1974, when he was assigned ZANDY'S BRIDE, Swedish director Jan Troell had recently come into considerable fame as a hard-hitting, realistic portrayer of life in Sweden with his 1971 masterpiece, THE EMIGRANTS, starring Max von Sydow and the extremely beautiful Liv Ullmann.

Very wisely, Troell picked as male lead (Zandy) a facially non-descript actor, Gene Hackman, who also had recently risen to stardom with his Oscar for the role of Popeye Doyle in THE FRENCH CONNECTION. Hackman looks rugged and rough, the very type to raise cattle and live off the earth in 19th century rural USA, with little concern for social morés, a measure of respect for his father (whose wife treatment example he obviously endorses), and apparent disregard for his mother.

As the action goes, Zandy comes across a newspaper advert that a woman wishes to get married and he duly parts with $2 for a marriage license, and feels entitled to pretty much own the said woman to the point of slavery.

It is the dignity and self-respect of that woman, superlatively played by Ullmann, that spares her complete subjugation and captive status. Zandy sees her as a work mule and a womb to be fertilized so in time he can have male hands to help him around the farm. Nothing in Zandy's mindset detracts from the importance of money and of holding power over his woman.

No doubt feminists will find much to recriminate about ZANDY'S BRIDE, foremost the rape scene. As tragic and indefensible as his actions are, the fact that the film relates them so realistically and without pulling any punches should leave ashamed any man of any basic worth. They are a lesson on what to avoid in any relation with any human being, and in particular the female gender.

I have always found Ullmann one of the most beautiful women ever. Her eyes carry so much perseverance, determination, selflessness - and, ultimately, love - in this film that at times I felt I was in the same woodshed with her, watching her travails.

Excellent script, resting on sharp, clear and logical dialogue, by Forslund and Troell. Superb cinematography, especially of the countryside, including a memorably difficult horse ride by the sea.

Recommended viewing. 8/10.

One of my favourite actors - Gene Hackman - takes the lead as a farmer of the Old West who takes out an advert in search of a mail order bride. The lady in question, is nothing more than a mere possession in Hackman's eyes. Following the most cheerless wedding I have ever seen on film, the newly pronounced wife is subjected to all kinds of harsh treatment from her brutish and seemingly unfeeling husband. The limited and low key story, maintains its focus upon the character development of the two leads. As time elapses, the husband learns to treat his good lady with more in the way of respect, courtesy and love. The music tends to grate upon my nerves after a while and I wished for something else to be played! The direction tends to slow everything down until the narrative moves at a snail's pace. Gene Hackman puts his dramatic acting chops to excellent use in "Zandy's Bride." For me, he has never been about wearing different costumes or putting on different accents (good at the latter when he does). Hackman is an actor who is effective by his realism and by his various facial expressions and body language. That is how he creates a performance. I can't say I'm surprised that "Zandy's Bride" is a more obscure film but it is an interesting curiosity.

California in the mid-nineteenth century was a ravishingly lovely, sparsely-populated wilderness. The people of the coastal strip eked a living from their wooded valleys as small-scale cattlemen and dirt farmers. Their contact with the outside world (or with one another, for that matter) was limited.

Zandy Allan is a poor farmer and a bachelor. His smallholding in the steep hills above Big Sur is squalid and joyless. He has decided to obtain a wife because he wants sons to help him manage the livestock, and so he has answered a newspaper advertisement. His wife-to-be is a slight, attractive Scandinavian woman and she is travelling westwards from Minneapolis to meet him ...

A modest and engaging little western, "Zandy's Bride" relies solely on its two stars, Gene Hackman and Liv Ullman, for its interest. There are no stampedes or shootouts, no indian wars or lynchings. It is a quiet domestic piece, an essay on human character - no more, and no less.

"You don't know nothin' 'bout marriage," Zandy is told by his mother (Eileen Heckart), "'cept from pa an' me." And what a baleful example of conjugality the older Allans are. Without charm, verbal skills or even basic courtesy, Zandy's father treats his wife as if she were one of his animals. If Zandy is brutal and inflexible (and he is), it is small wonder. More than half an hour of Zandy's on-screen relationship with his wife passes before we even learn her name.

The only external events in the movie are the barbecue (was that term really current among Californian sodbusters 150 years ago?) and Zandy's foray to San Francisco. The barbecue's main plot function is to enable Zandy to be tempted by Maria (Susan Tyrrell). The San Francisco sojourn is the watershed in the marriage of Zandy and Hannah. When he returns, both partners have grown emotionally. Zandy has learnt to accommodate a will other than his own, and Hannah has become stronger by being a mother.

The two central performances are outstanding. Hackman in particular is terrific. He presents Zandy as a coarse, selfish thug and manages to retain our sympathy. As he sits at the table after returning from the city, his stream of different facial expressions is brilliant, his eyes flickering with conflicting feelings of bravado, hurt and anxiety to please.

The direction of Jan Troell (this being an American/Scandinavian co-production) is quiet and unspectacular but wholly competent. For example, Zandy is jostled by passers-by on the sidewalks of San Francisco, an economic way of showing us that he is unfamiliar with the ways of society. The incidental music by Franks and Carlin is superb, with its salty 'American vernacular' flavour. George Cronenwerth's cinematography is beautifully clear and attractive, capturing the feel of primitive rural life with its rich browns and ochres.

How on earth did they shoot the scene where Zandy injures his horse by driving it too hard up the slope?