The Hired Hand

This is not only an overlooked western, but a sorely overlooked piece of filmmaking, beautifully shot by Vilmos Zsigmond (who uses some of the slowest dissolves anywhere in cinema) and directed by Peter Fonda, who seemed bent on capturing an authentic period flavor often missing from westerns of that time. His eye for detail, and his refusal to insert too much of it, is impressive for a young director. That is, the visual authenticity, like the acting performances and dialogue, work by way of understatement. This is a very understated film, at a time when few coming from the American market were.

Ultimately, it is a sort of 'buddy' film about the deep friendship between two characters played by Fonda and Warren Oates. It also has in common with EASY RIDER the tragic, "backward" movement from West to East, which goes against the "natural" flow of American history and literature, and which ends in death here as in the earlier film, when the "hired hand" of the title takes on a sadly ironic new meaning.

Fonda directs his actors in an understated, low-key, highly naturalistic style; Warren Oates was never warmer or more at ease seeming on camera. It is good to see him relaxed and even jovial. His character is genuinely disturbed when forced to shoot in self defense a menacing drunk taking shots at him. Larry Hagman even gives a good performance here in an uncredited role as a town sheriff, caught in an awkward spot when peace in the community demands he ask Oates to leave his jurisdiction. The off-beat comedian and actor Severn Darden (memorable from THE PRESIDENT'S ANALYST, 1966) appears here in an uncharacteristic role as a malignant villain. Bruce Langhorne's music is among the most haunting anywhere in film. It will stay with you.

This film is a work of true film ART, where most westerns of its day (e.g. John Wayne's) were little more than loud, mass-market entertainments. The understated THE HIRED HAND will probably not satisfy western fans looking for action and violence in the Wayne or Eastwood mold. It is closer in feel to, say, Jan Troell's ZANDY'S BRIDE, made in the mid-70s, or HEARTLAND, the highly realistic drama of frontier struggle that closed the 70s. Yet even those who favor Peckinpah's THE WILD BUNCH (1969) should appreciate the literate script of THE HIRED HAND, written by Alan Sharp, whose credits include Arthur Penn's NIGHT MOVES (1975), and the equally overlooked Robert Aldrich western, ULZANA'S RAID (1972), which presents even more intense moral complexities.

THE HIRED HAND is, alas, now difficult to see. But make the effort, and you will be greatly rewarded.

-- Derek Bousé

To call this picture a Western is to diminish it, although it is in fact a Western; to call it a picture about male bonding is to do likewise, although it is most assuredly about that. It is so much more. Like the greatest works of art in any narrative medium, it concerns human relationships, including a person's relationship with the self. Because the story is presented with unrelieved seriousness it will not come close to appealing to everyone - but neither will the classic novels, plays, poems, etc. As an example of cinematic art, this obscure film belongs among the greats. All aspects of filmmaking are handled with a firm but sensitive touch. Its obscurity is difficult to explain, and impossible to justify.

If you're into film that has to have a cut every 3 seconds to stay interesting, skip this one. But if you're into film as an art form, this is a must see.

The photography is masterful by Vilmos Zsigmond. From the deeply rich silhouettes made with the natural light of a sunset to the shading and textures of lamp and fire light, this film is a profound lesson in painting with light.

The montage scenes blend the beautiful images into a pensive and graceful passage of time. The editing creates a deliberate pace that recreates a time when a horse trot was the natural speed. But when the gun battles begin the pace quickens to a gallop.

The delicate music is perfect blend of instruments for the visuals and provides the emotional depth that music should.

Under Peter Fonda's creative direction the film's elements deliver a story of a man who returns home to make things right because he had the courage to change. And just when the man and his wife restore their love and trust in each other, he had the courage go away again to save his longtime friend.

You know a film has impact on you when you remember it 30 years later. Those that are mediocre all merge together and fade from memory quickly, but a good one you're still thinking of a week later --a great one, years later. The Hired Hand is like that. I saw the movie in 1971 and thought it mesmerizing. The other night I was delighted to see the remastered copy in Blockbuster, and I had to rent it right then and there! It was even better than I had remembered. The cinematography was nothing less than stunning -- especially the sunsets. It has the most unusual and haunting soundtrack of any movie I've seen.

I have to laugh at the reviewer who thought Verna Bloom was ugly. Verna was perfect for the role of the quintessential pioneer woman -- strong and direct, with an amazing presence and an inner beauty. I guess that "beautiful Hollywood people" have been playing the guys and gals next door for so long that average looks have become "ugly" to us. Heaven help us all.

Some of the scenes in the movie are quiet but powerful. One is strangely erotic -- Verna Bloom is sitting in her rocker on the front porch and Warren Oates on the step near her. As she explains to him that it wouldn't really matter who she slept with that night (either he or Harry would be interchangeable), Warren Oates character is visibly moved and caresses her bare foot for a few seconds before the scene fades to black. This is a example of a how "less can be more" in an erotic scene -- it was brillantly done.

I give this movie my highest recommendation.

This unheralded subtle film should be a "must see" for students of western US history and film buffs alike. The plot is a believable story involving characters that are NOT larger than life. These are people we could expect to know - only 125 years ago. As others have observed, Verna Bloom is THE western/frontier single mother in this film. She looks the part and shows us the day-to-day hard work of her life. Warren Oates has always been the classic prototypical "cowboy" and never elsewhere is he more perfectly cast. Finally comes Peter Fonda. Who could have thought that he could go from the drug-running renegade of Easy Rider to the thoughtful character struggling with deep conflicts of loyalty and justice? It is a tour-de-force that creeps up on you in its quiet way.

This film works on many levels. The story, the characters, the cinematography, the music, the dialog are all top flight - especially since the dialog is sparse and punctuates moments of thoughtful non-verbal imagery. If you want to see it your best chance is on Bravo or some public broadcasting service station. Please, PLEASE - somebody put this one on video or DVD. In genre this film deserves a solid nine out of ten. In general at least a 7.5 out of ten - try to see it!