Le serviteur du diable

It must have been an absolute delight for Willie Nelson to be in a position to turn his classic Red Headed Stranger album into a movie. The greatest country album of all-time serves as the soundtrack and, like the record, the film moves at a steady pace through a story saturated with heartache, revenge and redemption. Nelson's acting has certainly improved since his earlier efforts, while the still-beautiful Katharine Ross turns in a charming performance. The production values are a little lacking, but the story more than makes up for it. Add a half-star to the rating.

Not much dialog for a movie that I enjoyed. The music was excellent, I guess because I like Willie Nelson. Sad and reflective. It shows how a person can change not just from good to bad but back again. Willies expressions were always sad and for the most part the movie was to.

Based on the album by the same title, Willie Nelson stars as a preacher who goes by the name of "Julian Shay" who has recently married and subsequently sent out west to the small town of Driscoll, Montana. Unfortunately, when they get to their destination both he and his bride, "Raysha" (Morgan Fairchild) soon realize that their new hometown is extremely cold and inhospitable. This prompts Julian to roll up his sleeves and get to work. Raysha, on the other hand, wants nothing to do with it and leaves at the first opportunity. This is when the trouble really begins. Now rather than reveal any more I will just say that this was a strange but interesting movie primarily due to the acting of R. G. Armstrong (as "Sheriff Reese Scoby"), Royal Dano ("Larn Claver"), the aforementioned Willie Nelson and the presence of two beautiful actresses like Katherine Ross ("Laurie") and Morgan Fairchild. On the flip side, the story itself could have used a bit more substance and character development which might have helped it to seem less raw and to flow more smoothly from one scene to the next. In any case, it was still entertaining for the most part and I rate it as slightly above average.

I was surprised this was released in 1986 as watching it the film felt much more like a western from the early 70's in both tone and filming style. I don't know if this was planned or due to the limited budget but either way it perhaps helps and gives the film some more charm.

It opens, and indeed the first hour, is very mild mannered and quite a family friendly western story... I won't go beyond that but I did find the change of pace and tone jarring initially. However by the end of the film it all actually all works well.

There is a great performance by R. G. Armstrong given more room to act here than his normal roles often gave him. Other than perhaps Barbarosa, I've never been 100% convinced by Willie as an actor, that said his charm shines through every scene and he's always very watchable.

I very much enjoyed this film, it is flawed and a tiny bit dated, watching it you do wonder quite how the marriage at the beginning of the film ever came to be. But while the pace is perhaps leisurely as it opens the story does keep moving and there are a lot of great original scenes and great performances. And there is the music too of course.

When one thinks of singers trying to act, the first culprits that come to mind are Frank Sinatra in "From Here to Eternity" and "The Manchurian Candidate", or Elvis Presley in anything. Usually, the crossover does not work because a particular kind of singer may just have too much personality (or "baggage") to fit himself into a particular role.

Here, though, the transfer works, and it is a result of the kind of singer Willie Nelson was, and always has been. His style of delivery as a musician is all understatement, quiet nuance, and behind-the-beat phrasing. There is a sort of conversational verisimilitude in his singing that crosses over into acting (screen acting, at least). His style of singing is almost the equivalent of the "method" school of acting -- it is all psychological and physiological recall.

So, Nelson is nearly perfect as Parson Shays, for that reason, and for another; the character was already fully-realized in the musical album version of "The Red-Headed Stranger." The screenplay is largely just a fleshing-out of Nelson's narrative vision. If you doubt that, give the album another listen; it has a surprisingly coherent, and direct storyline that connects all of the songs (even several not penned by Nelson himself, most particularly Hank Williams's "Blue Eyes Crying in the Rain").

Now, of course, the question still remains: how good is the story itself, and how well has it been rendered on-screen? This is not a Western on par with Leone's, Ford's, or Eastwood's. Nor it is meant to be. It is, however, remarkably well-crafted bit of movie-making. For those who object to the seemingly amoral content (the murdering of women), the only response is that a piece of narrative fiction is not a sermon, and artistic judgment is not the same as moral judgment. Furthermore,the old-school, "white hat/black hat" type of Western was already on its way out around the time of "Shane."