Jeremiah Johnson

Text: This story is about mankind. When you look out over the rivers, the hills, and the far horizon with a profound sense of your own littleness in the vast scheme of things, and yet have faith, hope, and courage - which is the root of every virtue. When you know that down in your heart every person is as noble, as vile, as divine, as diabolic, and as lonely as their own self, and seeks to know, to forgive, and to love your fellow humans.

When you know how to sympathize with people in their sorrows, yea, even in their sins - knowing that each person fights a hard fight against many odds. When you have learned how to make friends and to keep them, and above all how to keep friends with yourself. When you love flowers, can hunt the birds without a gun, and feel the thrill of an old forgotten joy, when you hear the laugh of a little child.

When you can be happy and high-minded amid the meaner drudgeries of life. When star-crowned trees, and the glint of sunlight on flowing waters, subdue you like the thought of one much loved and long dead; when no voice of distress reaches your ears in vain, and no hand seeks your aid without response.

When you find good in every faith that helps any man to lay hold of divine things and sees majestic meanings in life, whatever the name of that faith may be. When you look into a wayside puddle and see something beyond mud, and into the face of the most forlorn mortal and see something beyond sin.

When you know how to pray, how to love, how hope. When you have kept faith with yourself, with your fellow man, with your God; in your hand a sword for evil, in your heart a bit of a song - glad to live, but not afraid to die! Such a person has found the only real secret of life, and the one filmmakers continue to try to give to all the world.

Thank you kindly. I remember from allegories, conferrals, and degrees of work among actors, crews, and more importantly, writers!

Summary: What you do for yourself alone will die with you, what you do for others and the world will remain and be immortal. When warranted because of quality of story and significance of filmmakers and actors, I recall memories of beautiful stories portrayed on stage with trusted people to my side helping everyone equally as best they could. Jeremiah Johnson is a stand out film in my opinion only expressed here hopefully among trusted film lovers. Needed now more than ever before. 1 / 6 / 2021. *I am still alive after Covid-ruptured gallbladder 08-18-2022. SMIB.

A film which is glibly categorized as a `western' but goes somewhat deeper than that. The Pollack/Redford combination works well, and the photography of those magnificent mountains of Utah is spectacular. With all that beautiful scenery in Montana, Nevada, Colorado, Utah, I am surprised that the US government never does very much for saving it and cleaning up all that contamination ……..

Thirty years on and after several viewings, I find this story grows on you, like the aging of fine wine in oak casks, such that another recent viewing gave me as much – if not more – pleasure. Precisely because it is not the standard `western' formula. One gets a little tired of John Wayne getting saddle-sore, killing indians and wooing women; at times watching `Jeremiah Johnson' I cannot help comparing a little with `Dances with Wolves' (qv), not because of any story similarity but more from certain situations being played out.

Robert Redford has given us numerous films in which his characterization is pretty good in general, but in this film I rather fancy he was inspired, even to the point of throwing off that silly category so beloved of those suffering Hollywooditis. Most notable in `The Sting' (qv), `All the President's Men', `Out of Africa', and `A River Runs Through it', without forgetting his excellent directing of `Ordinary People', one of the best true-life dramas I have seen.

`Jeremiah Johnson' is now one of the classics of the genre and even of cinema as a whole: always worth another viewing.

Sydney Pollack's return to the western four years after THE SCALPHUNTERS was to be a completely different experience. Following the trials and tribulations of a deserter of the Mexican War who disappears in the Rocky Mountains of Colorado to become a mountain man, JEREMIAH JOHNSON eschews the conventions of the western as a genre in such a way as was only made possible for American cinema in the tumultuous era of early 70's with such visceral movies of frontier survival as MAN IN THE WILDERNESS and A MAN CALLED HORSE paving the way.

As Jeremiah Johnson (Robert Redford) wanders the mountains like a fugitive stricken by disaster, a solitary figure against awe-inspiring backdrops of massive rock formations, steep ravines and expansive mesas, you can tangibly feel the film, like the hero, transcending the specific time and place and breaching out vision to become an all-encompassing spiritual journey where the individual characters - fur trappers, bear hunters or Indians - are merely the unwitting parners in a dance of death.

Some viewers may be put off by the lack of straight-forward plot, the episodic, repetitive nature of the movie or the long stretches of silence, but it's from those exact things the movie takes its power. JJ comes unto its own in those small moments of quietude, in Johnson's silent encounters with indians, in the barren, unforgiving wastes of the craggy mountains that reflect so well the psychology of characters wandering in their shadow, in the subtle, heartwarming interactions Johnson has with the Indian woman he's taken for a wife and the mute boy he's taken for a son. There's hardly a word uttered between this peculiar family the entire movie but the ways they learn to overcome the barriers that separate them is a touching sight to behold.

There is some dated montage, a corny soundtrack; how much of this will affect your enjoyment will boil down to your affinity with how cinema was in the 70's. Still, what is left is this beautiful parable of broken humans learning to be whole again. Equal parts visceral, savage and heartwarming.

Jeremiah Johnson is unlike most films of its kind, which is a subgenre of the adventure film that follows a lone mountain man disillusioned by society who escapes to the frontier in order to become one with nature and reinvigorate himself. Strange how women never do this. Anyways, Robert Redford is surprisingly effective as the quiet, tough and determined title character who remains focused on his ultimate goal of remaining aloof and alone from all connections to anyone.

Unfortunately, he is bamboozled into a most peculiar family situation involving a mute son of a crazy pioneer woman and the daughter of a French-speaking Native American chief. In the end, what director Sydney Pollack is all about is showcasing how nature can indeed salve some of our pain and make us feel more comfortable with our situations. Nevertheless, true relationships with people cannot be substituted. Beautiful photography, strong performances and a most intriguing storyline all help create a very interesting film that is worth multiple views and considerable think time.

There are many films which personify the era of the Mountain Man. This is perhaps one of the best. The reason why it is at the top of the list, is due in part to director Sydney Pollack's selection of natural wonders, majestic scenery and simplistic storyline. The movie tells the story of Jeremiah Johnson (Robert Redford) a veteran of the Mexican American war who decides to journey into the High Alpine Rockies to become a Mountain Man. Based very loosely on the novel by Vardis Fisher, the hero seeks the life of a trapper which offers Solace, wild adventure, aboriginal encounters and a chance for legendary exploits. During the first years of his experience, Johnson is befriended and threatened by both Native Americans and crazed mountain veterans who teach him and endanger him as well. Among the best is 'Bear Claw, Chris Lapp' (Will Geer), 'Paints His Shirt Red' (Joaquin Martinez) and Del Gue (Stefan Gierasch). (Delle Bolton) plays Swan and Josh Albee) is Caleb who become part of an instant family. The film is quite picturesque in its beautiful seasonal settings and entertaining to anyone seeking a chapter in the bygone era of a vanished breed. ****