Land meines Herzens

This is a beautiful film, reminiscent of Terence Malick's DAYS OF HEAVEN. Conchatta Ferrell (a sadly underrated actress) plays a widow with a young daughter who moves to Wyoming for a job as a rancher's housekeeper. The house is little more than a two-room shack, and the rancher must work his fingers to the bone in order to survive. There's no heavy drama here, despite the fact that the two get married and try to survive a devastating winter. All the action and dialogue is subtle and honest. Yet the characterizations are more powerful than any film with a dozen writers, mainly because Ferrell and Rip Torn (an amazing actor) are so naturally earthy and mature. You never get a sense that their dialogue was written for them (maybe it wasn't!). Every shot seems natural, and every detail is brought to life with genuine care. And there are images of landscapes, people and animals (particularly a starving horse, and an incredible finale on the farm, which I will not give away) that I will remember forever. Search this one out!!

Director Richard Pearce has a knack for finding small tightly- crafted stories and keeping them confined to their natural surroundings and letting smart casting choices take over the work and create something magical. He's done it with "Country" and "Family Thing" and maybe never better than with "Heartland." Of course, Rip Torn is a fine actor and well-suited to the role of a farmer, but the amazing turn by Farrell in the lead is not any easy part. She is quite remarkable in this film, and it's maddening why she wasn't utilized more by other directors. (She shows up often in stereotypical parts, like the secretary in "Erin Brokovich") A shame this commanding actress isn't recognized more for this fantastic performance.

This is a first-rate film, based on the letters of its heroine, Elinore Pruitt Stewart (and published in the book Letters of a Woman Homesteader, in print 2003), supplemented with material gathered from other frontier families. The film follows the life of a widow with a young daughter who arrives in Wyoming (in actual life, Colorado) in 1910 to serve as housekeeper for a rancher. The film is inconclusive, as it should be: this isn't a story so much as a slice of life. And what a life! Regardless of whether the character represents Elinore's true nature, this is a wonderful woman: strong, self-determining, and courageous. She's not your usual impossibly slender, pretty young thing--Hollywood seems to think mere wisps could survive these hardships and keep their Mary Kay contact visiting regularly--but a sturdy and practical woman who never flinches at what life throws at her. One scene to watch for (among many): taking down clothes from the clothesline. I won't give the game away, but Elinore Stewart was one hell of a human being. I'd have felt honored to know her.

Heartland is based on the letters of Elinore Pruitt Stewart collected in Letters of a Woman Homesteader. For anyone who is familiar with both works, it is obvious that while the initial subject matter is the same, the intentions of each are vastly different.

If you are looking for the sweet, Arcadian version of life as an American homesteader, then read Letters. However, if you want to see a brutally honest picture of what it takes to make it on the frontier, then watch Heartland. Each has its own appeal. Letters and Heartland are wonderful works, and are highly recommended for any student of the American West.

Conchata Ferrell is a widow with a young daughter. She goes to work for Wyoming rancher Rip Torn and learns about the hard beauty of the high country.

Richard Pearce's movies seem to be about small towns and open spaces, and in this movie, he offers both with a patina of almost deadpan humor; the quavery violin solo of "What A Friend We Have in Jesus" is a clear signal of a sour joke throughout. The leads give terrific performances. So does Lilia Skala as a neighbor who kindly advises Miss Ferrell that the Equality State is no place for a woman. Fred Murphy's camerawork is just like the rest of the movie: plain and ugly with glimpses of beauty.