Rough Riders

I didn't realize John Milius had this fine film in him (after all, he gave us RED DAWN). I stand corrected. I liked the film so much, I had other members of my family watch it, and they loved it, too. How pleasantly surprised I was by Tom Berenger's superb performance as Teddy Roosevelt. Watch for Berenger as he stands at the back gate of the caboose of a train he's commandeered to transport his troops. He has no dialogue, but get a load of the look at his face and his bearing. He just stands there, beaming, so gloriously alive with the spirit of the man and his times. Look for standout work by Gary Busey (I really wanted him to say "Mr. Roosevelt! Look at the firepower!") as the feverish Southern general Joe Wheeler, Illeana Douglas (a fresh surprise as Alice Roosevelt), Brad Johnson (who has easily the most beautiful smile in Hollywood) as the outlaw-turned-hero Henry Nash, Nick Chinlund (a fave "X Files" creep) in a great scene as Frederick Remington, and Chris Noth as the privileged Craig Wadsworth. All are tremendous. Sam Elliott turns in both subtle and commanding work as Captain Bucky O'Neil, a man as heartbreaking when he bids his wife goodbye as he is terrifying and awesome when he breaks his troops in to the concept of killing. My quibbles with the production are few: silly, Attenborough-style casting of George Hamilton as a too-handsome William Randolph Hearst, cheesy use of the "St. Crispin's Day" speech from Shakespeare's KING HENRY V, very little information on what the war was actually about from both sides (the opening credits block the vintage headlines that supposedly bring us up to speed). Still, the battle sequences are masterfully staged (watch the horses run by Remington while he paints--gorgeous shot!), the training sequences are fascinating, and Berenger's expression once the Battle for San Juan Heights is over is simply heartwrenching.

This film chronicles the 1st US Volunteer Cavalry ("Rough Riders") from their inception in the mind of Teddy Roosevelt through the capture of the San Juan Heights, the moment at which Roosevelt said "We will always live in its shadow." Although it takes some liberties with the facts, they're simply to strengthen the story as constrained by the medium: better than two months and a thousand men are pushed into three+ hours and some fifteen characters, enough to catch the flavor of the time. And what a time: when rich young men from Park Avenue sincerely believed it was their duty to take part in their country's wars, and a politician who started one went to fight in it, when artists calmly painted oils of battle, and correspondents walked toward the sound of the guns... Fiercely accurate in the feel of the battle, especially the waiting under fire, and in the making of men into killers, "Rough Riders" is beautifully filmed and scored. But mostly, it's well acted. Berengar *is* Theodore Roosevelt, and Sam Elliott gives another good performance, as does William Katt as Edward Marshall (with a lot of Richard Harding Davis's actions). Gary Busey's Fighting Joe Wheeler is a scene-stealer, much like "the old gamecock" undoubtedly was, and the little roles are well handled as well, especially Nick Chinlund's Frederic Remington. But the real focus of the movie is on Brad Johnson's Henry Nash, the Arizona outlaw, and Chris Noth's Craig Wadsworth, the Park Avenue polo player... Noth in particular gives a understatedly lovely, nuanced performance as the rich young man coming face to face with Life -- the very thing his family had tried so hard to keep him from ever having to experience. His transformation mirrors the transformation this particular war created in our country; as Roosevelt says in the film, "It will never be the same again." I heartily recommend this movie.

I cannot overly praise this great motion picture. When I saw it on television, I was amazed at its quality and verve, and eagerly awaited it on video. I was not disappointed.

This is a fantastic motion picture on many levels. The scoring was perfect, and the painstaking, accurate attention to detail in period weapons, uniforms, and accoutrement was obvious.

Though the actual facts of the engagements depicted were a bit different than is portrayed in the film (due to time constraints and for the sake of lucidity), the movie has a genuine 'feel' for Teddy Roosevelt, his famous outfit, and the times they lived in.

Sam Elliott, as Captain Bucky O'Neil, was a standout and should have won an award for his performance. He's always a pleasure to watch on screen, but he infuses his part here with genuine toughness, a wonderful dry humour, and great humanity.

Then again, the entire cast was wonderful, particularly Chris Noth, Brad Johnson, Tom Berenger, Dale Dye, and especially scene-stealer Gary Busey. Watch for the actor who played "Indian Bob"; he has one of the funniest (and most human) lines in the film.

This is the only movie I've ever seen that I wanted to be in, in some capacity. It's that good.

Tom Berenger is a superb actor, and I think his talent is often overlooked. He was funny, affecting, and ennobling in "Major League," a comedy about a misbegotten baseball team. He was chilling, on a knife's-edge (a one-man Hitchcock plot - no way to tell where he was, or what he might do, or what he knew... but no mistaking the motivation and emotion, either... indescribably human, he was) in "Betrayed." His performance there was such that one hated and feared him from the very start, but ended up praying that he would not be slain. I heard little about his effectiveness in either case. And yet, there was, of course, his screen-shattering performance as Sgt. Barnes in the brilliant, alligorical, and hard-hitting Oliver Stone production, "Platoon." He won plaudits for that one, and well-deserved ones.

In this one,"Rough Riders," he is given a juicy, meat-filled slice of adolescent Americana, to play - an incorrigible and inimitable American hero, the irrepressible Theodore Roosevelt. Rather than restraining himself, or attempting to portray TR as - well, as an adult - Berenger seems to let his performance carry itself, unconsciously. He is as over-the-top as TR himself. This is, at all times, under a thin, barely-controlled layer of respectability, very similiar itself to the state in which TR himself seemed to be born. TR's life, much of the time, was a bouncy, swashbuckling melodrama - and Berenger plays all of this to the hilt, and with the necessary controlled-abandon. He might be critisized for over-acting if it wasn't for the plain fact that this is, in fact, the way TR behaved. And anyone who cares to witness Mr. Berenger's other performances (including his most recent roll, as a delightfully dour and cynical sheriff, on USA's "Peacemakers") can see, his sensitivity to the depth of the characters he plays is extraordinary - one can almost pity him, in this case, for choosing to play a man who himself embodied unbelievable melodrama.

Suffice to say, the entire picture is worth watching, just to see bully old Teddy back again, alive and in the flesh, trying to start a war, and then trying to fight and win that war... Berenger brings it all to life, brilliantly. He shouts "bully!" with enthusiasm, he studiously prepares several pairs of spectacles for his expedition to Cuba, we see him trying to improve his piping, asthma-riddled voice, the better to command his soldiers - and, later, we see him fall quite out of his chair at the jest of a comrade, declaiming, "I was overcome with mirth!" Such scenes will overcome the viewer with mirth, as well - but a knowing mirth.

Having said that, this film's best moment is near the beginning, and it involves Illeana Douglas, who plays Teddy's wife, Edith, with a healthy dash of long-suffering tolerance, as if she would leave the set if she could just quit loving the man she'd married. Her defense of the macho (but defenseless) TR in the face of the French is played off terrifically. She comes across as precisely what Edith herself, in fact, was - a woman who had long since resigned herself to the hell-for-leather forays of her headstrong husband... and she defends him with the ruthlessness of a woman who knows that no foreigner will ever understand the boundless Americanism (or worldy childishness) of her husband.

This is not a brilliant film, but it is an entertaining one. The battle scenes are well done, but, aside from what I mentioned above, the real fun in the picture is in the "boot-camp" scenes. A well-cast and icily forbidding Sam Elliott, along with the silent, brooding threat-in-being of David Midthunder, makes these scenes more interesting than the typical military drill-sergeant fare. By the end of the training process, even those watching the movie are longing for the approval of the aloof and mysterious Midthunder - who, in a nicely balanced final scene, explains himself in a way that banishes mystery, conjures comradeship, and evokes sympathy.

One other character commends attention here. Gary Busey plays the ancient Confederate General Joseph Wheeler - a hero of the Civil War (for the South, anyway). Like Berenger, his acting is sure to be termed overdone, excepting the reality that his character was, in fact, a hell-for-leather, horse-riding, Yankee-skewering madman... And there is great pleasure in the watching of Busey bringing this nutty semi-senile General to life. He demands assurances from the President, and we see him repeatedly mistake the Spanish, who we Americans were fighting in this war, for "Yankees." (In the end, the addled, overweight, and over-enthusiastic General settles upon the phrase "them Yankee Spaniards," when referring to the enemy...) It is a fun portrayal of a man whose time has past, but who refuses to acknowledge the fact. Busey's Wheeler is so wound up in the sound of the guns, that he loses all reason, becomes delirious, and yet, beneath it all, hangs inadvertantly to the vestiges of heroism. I think there is little choice but to root for the ill-guided but irresistable General. Having such a melodramatic icon on screen with a viviedly-created TR is almost too much fun to bear.

There is humour and adventure enough for all, in this.

In the end, I recommend this picture for the terrific performances of Tom Berenger and Illeana Douglas, as well as the historical accuracy of much of it. I have left out, in these comments, sympathetic and effective performances by Chris Noth and Holt McCallany, who help make the movie go, and serve to tie the audience into the volunteer soldier idiom. Francesco Quinn brings patriotism, duty, and honour to life - unexpectedly (at least, to Anglo-Americans who know nothing of Latin qualities) in the guise of a love-struck Latin-American. His character, I think, speaks the most towards what modern soldiers might say, that we "all fight for each other." Quinn elevates these platitudes into reality, as the film portrays him carrying out his values, making decisions according to a code he had initially resisted in the interests of staying with his sweetheart. I have also left out Brad Johnson, who's trite "bad-man who learns honour" roll is, nevertheless, well-played. I could write much more... alas, just watch it, and see. A lot of fun. And very, very well done.

Love him or hate him, you have to admit that John Milius has returned in force to make this wonderfully epic movie. He only made two other films (barely) worthy of note: the underrated Flight Of The Intruder and the equally under-rated Farewell To The King. Though directed for television, Rough Riders has all the qualities of a great war epic from the sixties.

What helps Milius is his love of the subject matter. With The Wind And The Lion, Rough Riders feels as though Milius has a deep and abiding love for Theodore Roosevelt. Every frame of this movie gives you the feeling that Milius is working from the heart. His passion and respect for his subject matter illicited the greatest performance of Tom Berenger's career.

If you liked this, do see The Wind And The Lion.