Les cavaliers de la mort

I watched this movie out of curiosity because I have the book and have read it; five times. My book is 4" x 7" and is 311 pages long. That seemed like a lot for a two hour (I believe it was two hours) movie. I wanted to see how good the movie was and what parts of the book the movie omitted. I liked the movie despite the fact that it very understandably omitted a lot from the book. I read through the other user comments quickly and found two that said they like the movie better than the book. I would like to encourage those of you who have seen the movie but not read the book to get the book and read it. Parts of the book tend to be grandiose, which might be why the two users said they liked the movie better. To me, the book tells a great story with meaty characters that you get to know and care very much about. Central is Jane Withersteen who is being intimidated by the top Mormon men of her community. When she finally finds out how this intimidation campaign got started and, especially, who started it, she is rather shocked.

I was an avid Zane Grey reader as a teenager in the forties & have not re-read the book since. However,when viewing the movie, I felt the same aura of old west romance that I remembered from many years before. I have always felt that, in spite of his rather blatant racism, Zane Grey wove exciting and entertaining stories. I wish there would be additional efforts to bring more of his books to either the small or large screen, and that they would be as well made as "Riders of the Purple Sage".

Mr. and Mrs. Ed Harris, like Mr. and Mrs. Paul Newman, Mr. and Mrs. Frederic March, Mr. and Mrs. Hume Cronyn, Mr. and Mrs. Ronald Colman, even Mr. and Mrs. Jack Benny work beautifully together as they help make sense out of Zane Grey's, "Riders Of the Purple Sage."

Unfortunately, that wonderful all-west title was borrowed by some sort of psychedelic band calling themselves, "New Riders of the Purple Sage."

I'll stick to the old riders, thank you just as the movie sticks closely to the original book.

The movie is up to its eyeballs in philosophy, but it is not so deep that the residents of Dolt City would be confused.

The background music is quite good, even if it does not include the Mormon Tabernacle Choir.

The story will keep you interested from top to bottom. In dialogue it is more than a tad above Gene, Roy, and Tex, etc., all of whom i deeply enjoy.

"Riders Of the Purple Sage" is a thinking person's western, while in no way losing the flavor of a western film.

Go see it. That is 'sage' advice.

Trying to create a film adaptation of one of the most popular books of all time almost 100 years after the book's original publication could delight and disappoint many. In doing so, the director must do the book justice while adapting it to a visual format that will engage modern audiences. When director Charles Haid helmed the second film version of Zane Grey's Riders of the Purple Sage, he pulled off the task of making a film that both entertains Grey neophytes and long-time readers. He accomplished this by sticking to what made the book tick: beautiful settings and archetypal characters.

Since Haid shot his film on location in Moab, UT, he merely had to let the camera pan to accomplish half what he needed to in the film. The gorgeous vistas of the Colorado Plateau color the entire film with an easy majesty and stark realism. Many times in the film, the characters simply provide an excuse for the presentation of the canyon lands around them. For instance, when Venters first finds himself outcast and expelled from the company of his beloved Jan and the town of Cottonwoods, he wonders off alone into the labyrinth of canyons where the outlaw Oldring hides. His isolation and search for identity and belonging find representation in the plunging canyons, lonely solitary rocks, and myriad colors surrounding him. While the book describes Venters state of mind in laborious detail, Haid merely lets his shooting location tell the tale.

Very little of the plot which first appears in Grey's book is changed in Haid's film version. Other than small, necessary changes that streamline the film and make it watchable, the characters and conflict run true to the book. While the book specifically names Mormons as the evil force out to ruin Jane, the movie opts instead to create a Unitarian-type Protestant church without picking by name on the Mormons. Where Grey uses three men to make up Jane's stable help, the film combines all three into one. While not the same as the book, the change works to simplify the film while not significantly changing the book's story.

In terms of characterization, an older Ed Harris and Amy Madigan play the leading roles of Lassiter and Jane. While Harris's skullet (bald with mullet) and Madigan's wrinkles may not accurately represent the young and beautiful vibrancy of the book's characters, these veteran actors more than make up in acting what they lack in appearance. You believe Jane's ambivalence towards her church and Lassiter when you hear Madigan's earnestly delivered lines. You find yourself taken in by Lassiter's tortured past and consuming present when Harris squints, rides, shoots, and weeps under the Utah sky. Robin Tunney, now of Prison Break fame, perfectly embodies the innocent, tomboyish Bess as she finds herself both shot and loved in the same day. Even little Elliot from E.T., Henry Thomas, pulls off a convincing, grown up performance as the spurned Venters.

In the end, this movie will entertain any fan of the Western film genre, while at the same time satisfying even the most devoted Zane Grey fan. With great settings from Moab, UT, a screenplay that does little to depart from the original text, and sound performances from good actors, this film works. It's no Unforgiven, but it beats the smarmy, Hollywood smugness of, say, Tombstone. Grey would approve.

Having read the original novel after seeing the film, I was most impressed how well it adhered to the original plot line from the Zane Grey novel.

Ed Harris, an actor that I usually do not care for, was very, very impressive in this film. As Lassiter, I loved his delivery of the line to the bad Mormons: "Where I come from, a woman's word is law." Harris conveys the right portion of menace and due respect when necessary in his role.

I saw this on TV; I wish it had been on the big screen

Too bad Zane Grey never saw this version; I sure he would have been very happy with this production.