Le serviteur du diable

I really enjoyed Red Headed Stranger, which is a great movie project for Willie Nelson. The film has some similarities to Clint Eastwood's Pale Rider. Obviously, both films have preacher characters that stand up for justice (and deliver, Old Testament style). Willie Nelson's Shay shows more vulnerability and is not as hard ( invincible) as Clint. Well, nobody did westerns quite like Clint. The film here is pretty solid and showed how violent and corrupt the untamed land could be. The movie looks great and is paced well with a mix of Willie Nelson's music to go alongside the story. Western icon RG Armstrong gives one of his best performances as Sheriff Scoby. Morgan Fairchild is some serious eye candy as The Preacher's ill fated wife. Everything here was done well in my opinion and I really enjoyed watching this.

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.

Along with Kris Kristofferson, Willie Nelson has been making films as well as albums for years. _Red Headed Stranger_, an idea based on the album of the same name, is pretty much spaghetti-western fare. Nelson plays a preacher, his band plays the bad guys, Morgan Fairchild plays the wife and the carnage begins.

While certainly not Oscar-worthy, it is a must see for any true Nelson fan. I recommend getting some friends, a Willie-style "cigarette", a bottle of whiskey and this movie. Featuring tracks from the album _Red Headed Stranger_, the soundtrack is better than the film. Another notable film is _Honeysuckle Rose_, where Nelson plays basically himself.

All in all, cheesy fun. And, the film was shot in Texas, behind Nelson's Perdenales recording studio and golf club.

This independent western has generally been dismissed by critics. It certainly has some big faults - some terrible direction (some key scenes are shot *at a distance*), and yes, Morgan Fairchild is indeed awful in her role.

I would say that one of the biggest faults of the movie, however, is with its pacing - this is a *very* slow-moving movie, and with a total running time of about 110 minutes, this slowness becomes even more deadly. The other big fault I had with the movie is that we never know what's going on in the head of Willie Nelson's character. His preacher character doesn't have that much dialogue, and what he says doesn't really give us that much insight into him. The explanations to the big decisions the character therefore decides upon remain a mystery.

Nelson isn't a great actor, but he manages to be watchable here by keeping his performance low-key. And even though the movie has its deadly slow pace and all those other problems, I did find it watchable - though in the sense of something being watchable during a boring weekend. Plus, there is occasionally some good stuff to see. For instance, the production values are dead on - all the weathered and rickety buildings look like they were indeed built in the middle of nowhere over a century ago. The cinematography is pleasing as well.

Verdict: Will do the job... but only for those who love westerns, have a high patience level, and have nothing else to do.

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."