Pazzo pazzo West!

I really love this movie. I saw it in the theaters when it first came out and recommended it to everybody I knew. Somewhere in my house is a bad VHS copy of it but I haven't seen it in a million years and it's not available on Netflix. If it gets released again on DVD I would recommend it - I'll bet it hasn't dated or aged one bit. Wonderful wonderful movie.

How do you campaign to get a movie re-released on DVD? This film has everything, a beautiful young Jeff Bridges, a typical excellent Alan Arkin performance, Blythe Danner! who should have been a much bigger movie star, hilarious script.

The plot is a little loose-limbed and meandering but it's an affectionate and amusing look at Povery Row studios, also known as Gower Gulch, that ground out cheap Western movies to be shown as second features. If you've seen a John Wayne Western from the 1930s you'll know what they look like. Wayne, on a white horse, racing after a pick up truck, dashing past the telephone poles, in the Old West.

Jeff Bridges is Lewis Tater, an aspiring writer of Western stories who comes to Hollywood from Iowa armed with a diploma from a phony writing correspondence school. Throughout the movie he is pursued by two villains connected with the scam who want money from him.

Meanwhile, nearly broke, he manages to stumble into a role as an extra in these cheap Westerns made by a studio -- Shoot 'Em Up Productions, or something -- that is run by the penny-pinching Alan Arkin, who gives a splendid performance. Bridges is adequate as the kid consumed by his fantasies. Blythe Danner, with her hoarse voice sometimes ending in a squeak, is skinny, sexy, and grounded. Andy Griffith is fine as the extra who acts as Bridges' mentor and who is later revealed as a fraud who tries to steal the manuscript of Bridges' Western novel.

Except for the two stereotypical villains -- Richard Schull and Anthony James -- who are mostly comic figures, it's hard to dislike any character in this fey atmosphere. It's 1933 and the location shooting and set dressing make Los Angeles far more attractive than it is today, now that it is a tangled snare of freeways with colorless settlements in between them. The musical score uses a lot of source music -- cheerfully and not in-your-face obvious. The sun seems to be shining all the way through, even when it's raining. It's charming when the disingenuous Bridges stands on the beach of a rich producer's house, gazes Westward, and remarks in awe to himself -- "The vast Pacific."

What a likable farm galoot Jeff Bridges makes. His Lewis Tater wants to be a Western writer and by golly neither pursuing crooks, nor double-crossing buddies, nor phony correspondence schools are going to stop him. Like his literary alter-ego The Kid, he's just too eager to get discouraged. Across burning deserts and thundering hoofs, he soldiers on toward fame and fortune and Hollywood and Vine.

And what a hoot his purple prose is. Like an amiable Walter Mitty, minor events get spun into major events for "The Kid" in such deathless passages as, "Twirling, The Kid fired with all he had into the phantom riders", or " A Colt in either hand, he scattered lead at the retreating dust."

What a great sleeper movie this is, thanks to the comical Bridges and some unerring light touches. Take for example the cheap Western they're filming. Catch how a groaning Lewis steps on the big romantic clinch, or how his curtain-chewing death throes put the director (Arkin) into a murderous tizzy. But I especially like that awkward little turn on the sidewalk where he brushes against the potted palm and wins the affection of Miss Trout (Danner).

The movie's also a telling look at the making of matinée Westerns, a staple of kids' viewing in the 1930's and 40's. As a former Front Row kid, I viewed those parts with mixed emotions. I guess I still want those guys to be real cowboys and not the shrewd businessmen-actors they likely were.

Anyhow, in my little book, this is a little gem from beginning to end, with scarcely a misstep along the way. It never ceases to amaze me that the Hollywood-bred Bridges (his dad was veteran actor Lloyd Bridges) can play such a convincing hayseed, but he can. Speaking of hayseeds, watch for a very unMayberry Andy Griffith, again showing what a fine, versatile actor he is. I'm just sorry this style of clever low-key comedy has given way to today's frantic bathroom kind. Maybe Hollywood needs to hire more Lewis Tater's, after all.

This film is pure and timeless gold, as out of character with its time as it is with present times. Jeff Bridges, Alan Arkin, Blythe Danner and Andy Griffith are perfectly cast in a comedy that spoofs both American innocence and American cynicism about that innocence. If "The Great Gatsby" is a classic story of the American Dream gone wrong, "Hearts of the West" is a classic rendering of the American Dream gone right in spite of itself.

This film is deceptively artful (e.g., the coherence provided by the leitmotif of the bad guys' increasingly dusty and dented automobile). Its "simplicity" is the "simplicity" of all great comedy, which deals with the essences as well as the particular manifestations of situations. (Moliere would have liked this one!) It's a film that makes you want to rewind it immediately and watch it again.

Five minutes into "Hearts of the West," I decided I had to own a copy. Funny, redemptive, and to be watched again and again. The laughs will not stale.

What I wonder is this: did Howard Zieff also intend it as a critique of the mindset and films of the mid-seventies? Because it is that.

Don't miss this one. It will brighten even the dreariest day!

At some stage in 1976 there was a misguided attempt to release this charming feature under the name "Hollywood Cowboy". Post THAT'S ENTERTAINMENT 1974 most studios seemed to flood the market with 30s movie biographies since moviegoers apparently were fascinated with Hollywood's history courtesy of the MGM doco successes.. HEARTS OF THE WEST fits into the release pattern of GABLE AND LOMBARD, W C FIELDS AND ME, DAY OF THE LOCUST, NICKELODEON, and ultimately the horribly unfunny WON TON TON THE DOG THAT SAVED Hollywood and UNDER THE RAINBOW...each and every one about Hollywood in the 1930s. I think they all lost money. However except the last two, all are very good and HEARTS is possibly the most endearing but sadly unseen. The always affable Jeff Bridges proves he was hilarious and watchable even at 25. The Bruce Willis film of the 80s called SUNSET owes a lot to HEARTS. Young guy Jeff in this one, gets to Hollywood attempting to write westerns and ends up in stunt roles in what look like Republic or Monogram oaters. Beautifully made at MGM and well worth finding and delighting friends and family.