Esta Terra é Minha Terra

BOUND FOR GLORY compassionately portrays that Woody Guthrie's gift to mankind was about being at life's mercy, deliberately staying on a par with everyday people -- not just understanding and speaking for them, but being them and speaking for himself.

BOUND FOR GLORY had the courage to abstain from the bigger-than-life formula for Hollywood success, and never hurried its pace to placate a predictably impatient audience. The scenes, and David Carradine morphing into Woody Guthrie, took whatever time was needed to ripen into the enriching story of inherent human value, undeniable personal dignity, and the insidious soul-starving quality of greed that this masterpiece movie tells.

Ronny Cox, Melinda Dillon, Gail Strickland, Randy Quaid, and David Carradine all delivered academy award worthy performances. No saints, no heroes, no cavalry to the rescue; just actors tenderly disappearing into heart capturing characters who are disturbingly vulnerable, familiar, ordinary, and profound.

At its base, Bound for Glory is just a simple biopic about Woody Guthrie. In execution, it turns out to be a lot more. We actually learn very little about Woody Guthrie's life. I don't know the exact statistic, but I would guess that it covers no more than a few years, with an end title that tells us briefly of his death. And basically all of the experiences shown onscreen can be seen in other films, most notably John Ford's brilliant American masterpiece The Grapes of Wrath. To be absolutely fair, the scenes of migrant workers' woes are at least equal to those in its predecessor. A good one-line summary of Bound for Glory might read "a modernist equivalent of The Grapes of Wrath told from the point of view of folk singer Woody Guthrie." But Bound for Glory has a few things that make it stand out from other films, that make it as memorable as The Grapes of Wrath.

First and maybe foremost, you have the brilliant and gorgeous cinematography of the great Haskell Wexler. I'm no expert on cinematographers, but Wexler is one of only three I can name offhand (the other two being, if you are interested, Vittorio de Sica and Sven Nykvist). I love Wexler's work in films like Who's Afraid of Virginia Woolf? and Matewan (a thematically similar film directed by the great John Sayles). But what Bound for Glory most resembles is Wexler's very controversial cinematography on Days of Heaven. Not controversial because of anything specifically photographed, of course, but, if you know the story, a different cinematographer took credit as lead DP, leaving Wexler with a credit that was something along the lines of "with additional photography by". Wexler claims to have photographed more than 50% of the scenes in the finished film. He has sat through the film several times, I have heard, with a stopwatch. Bound for Glory, at any rate, is one of the most beautiful films you're ever likely to see. It's golden colors are beautiful, and the camera is moved gently, but with precision. This film actually has the first shot that used a steadicam, although I had forgotten to keep an eye out for it when the film was playing (I was far too engrossed). My favorite scene is one where Guthrie and a black hobo have left the boxcar of a train and move to the top of it. There they sit and converse as the most beautiful landscapes in our country pass by behind them. These are some of the best shots I've ever seen. And just because of those shots, even if the film didn't contain a plethora of other relevant materials, I would call this film one of the best ever made about the United States.

Secondly and thirdly, this film is about Woody Guthrie, one of the greatest American artists of the past century. David Carradine, who, in other performances, has never convinced me that he was as good as his father, John (who was in Grapes of Wrath, incidentally), or his brother, Keith, breaks apart my former opinion of him and delivers a masterful performance. I don't know whether I could identify why he is so good in this film. It's as if he has an aura about him. He really does, however, seem to enbody Guthrie's convictions. Throughout the film, Guthrie's music is played, whether sung or as an extra-diagetic score. This is great American music. So much of it has become part of the soundtrack to the American life. I mean, I remember learning songs like "This Land is Your Land" and "This Train" in elementary school music class. In his day, Guthrie had difficulty in getting those kind of songs out to the public. His bosses were constantly ordering him to tone down the political edge of his music. Luckily for America, he steadfastly refused to do so. Woody Guthrie was a true American hero. Bound for Glory depicts that as much as he could have hoped for.

One can go into this film from several different angles, and be rewarded at every turn. You like history? Bound For Glory's depiction of Depression Era life is both accurate and eye-opening. You like music? The perspective gained on one of our nation's greatest songwriters is delightful in a way every man can appreciate. You like against-the-odds stories of rugged individualism? Hope you're hungry. The pace may be criticized as slow, but works in emphasizing the dreariness and despair needed to understand the motivations and emotions that lead to Woody Guthrie's greatness. The deliberate storytelling also reminds one of the manner in which Kurosawa might weave a fable. Which reminds me, David Carradine's performance is inspired. Great film any way you look at it.

Is there any other musical figure in history who can be called as heroic as Woody Guthrie? The man was a musical genius, a visionary songwriter, and a great man, a man who never gave up on his dream, a man who gave up a lot of money so he could take his songs to the people, the people the songs were written by, and for, in the first place. Woody Guthrie was integrity personified, a great American hero. "Bound for Glory" is quite appropriately one of the greatest American films of all time, as well as one of the most criminally overlooked, despite two Academy Awards for cinematography and score, and four more nominations including 'Best Picture' (losing in that category to "Rocky").

Astonishingly accomplished cinematography from legend Haskell Wexler as well as some great editing and a stunning score in addition to Hal Ashby's (Harold and Maude) excellent direction make this a beautiful, haunting, and brilliant film. The performances carry the film, with David Carradine turning in what is surely his greatest ever performance, a stunning, passionate, beautiful portrayal of Guthrie which fully captures the man's spirit. Ronny Cox and Melinda Dillon are also superb in their roles. Ashby gets a sort of realism from his actors that is sorely missed today, and any other method of portrayal would make this film far less captivating and beautiful than it is. Screenwriter Robert Getchell adapts his script very well from Guthrie's autobiography, choosing the correct parts to tell. In many senses this feels less like a biopic and more like a story about working class America. Maybe that's why this is probably the greatest biopic of all time.

In terms of technical accomplishment, this is easily among the top 100 films of all time. It's a great American film about a great American hero. It tells the story of not only Guthrie, but also those who surrounded him and the people he sung to. It's a beautiful, emotional, and arresting film that is surely essential viewing. One of the most criminally overlooked films of all time.

A resounding 10/10

An unusual film, it starts by depicting the harsh life that many had to live during the Depression era, but then about halfway through it takes a sharp turn to become a biography of a musician. This change is rather jarring, as it comes unexpected. It manages to paint the glumness and the poverty of the Depression era so well that the sudden change in story direction just about violates what has gone before. In fairness, it does give us an idea of what the protagonist went through and what motivated his career, but is there not too much time spent on it? There is relatively little in the way of story until the music side enters in. It is quite meandering, and full of characters that have no importance later on, there is cause to wonder whether it could have been compressed down. For the adventure genre that the film best fits into, it is also relatively unexciting. The film is rather awkwardly put together, and it could do with a few events removed, but there are still a lot of good points to it. The cinematography won the film an Academy Award, as did the adapted music soundtrack, and both these elements are good. Haskell Wexler has chosen some interesting angles to shoot the film from, and the songs are fitted into the material quite well. Overall it is a good film, but a difficult one too. It takes patience to get through, but there are some good things in the end.