Heartland

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.

Portrays the day to day stark reality of survival on a ranch in the old west. Outstanding acting by both principal actors. This doesn't even feel like a movie...you feel like you're there. Animal activists should beware...many scenes are obviously not just realistic...they are real.

What more do you need from a movie? Nice slice of Americana is brutal at times but a rewarding film experience. Compares to some of the pain staking, carefully detailed epics of George Stevens (of Giant fame.)Can't get any better than the 2 strong leads. Torn and Ferrell are amazing. Maybe because as one reviewer stated, they don't even appear to be reciting dialogue. Definitely an overlooked jewel, waiting to be discovered on video.

Heartland was in production about the same time as Michael Cimino's Heaven's Gate - Heartland cost a fraction to make but is 10 times the piece of film.

Heaven's Gate was "the biggest and most expensive ($40 mil in 1980!) Hollywood flops of all time, its failure resulted in the sale of the United Artists studio to MGM" -imdb entry

Heartland cost a few hundred thousand dollars and benefits from great writing, direction, photography and acting. It easily draws you into the beauty, joys, hardships and sorrow of pioneer life.

It's sad that Hollywood sometimes would pour millions into turkeys (based on a director's single big hit) and neglect such a wonderful story.

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.