Zandy's Bride

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.

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?

Gene Hackman was so prolific that even though he has retired from acting for over a decade. You can still find a new performance from him even if it is some old, obscure film.

This is a bleak, dark but vacant Scandi-drama decades before the term came in vogue with crime mysteries.

Gene Hackman is Zandy, a rugged rancher in the Big Sur. This is an isolated and backward community. A wilderness. He has ordered a mail order bride from Scandinavia. The main reason is that he wants sons who would take over the ranch from him before he gets too old.

When his wife Hannah arrives he effectively treats her as a slave and even forces himself on her. This is a story of how it was in the old days in the 19th century.

Liv Ullmann plays Hanna and she does not take it lying down and is determined to turn the farm into a home. Turn Zandy into someone respectable.

Susan Tyrell plays a floozy, Maria that Zandy seems to have had a past dalliance with. Zandy is wary of her, this is a clannish community with hints of inbreeding. Zandy does not want bad blood hence why he has got a wife from the outside.

There is an outdoor barbecue scene where we learn a little about this isolated community and also Zandy's family life.

If you think Zandy is bad, he is a progressive compared to his father. Zandy's mother is very much aware what Hannah is going through. She knows how hard life and her own husband has been to her.

Zandy and Hannah resolve to make their marriage work and she rewards him with issue. In turn Zandy softens a little, he gets her nice clothes and even a stove from San Francisco.

The film is a slow burn drama but it does not have much action. For those of us, myself included whose only experience of The Big Sur is the coastal route to LA to San Francisco or vice-versa. This is an insight to a real community that once lived beyond those roads.

The film is rewarded with wonderful photography but it feels empty despite the rich performances.

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.

This is a profoundly realistic and perfectly-acted story that goes much beyond the previous commenter's assertion. It is a portrait of far west ranch life at its most primal and difficult. Love was not the issue in that world. The cinematography and direction were also great. Gene Hackman and Liv Ullman are subtle actors who deliver in this overlooked but wonderful film. Although I only saw it once, the dramatic intensity and truthfulness of the tale stayed with me. I've always remembered this film, as standing outside the norm. The visual memory is black and white, though I think the film is in color. The few but intense human connections were poignant, the imagery lasting.