Tom Horn, O Cowboy

This is unfairly forgotten western from the decade were western were slowly dying until the 1985. " Tom Horn" deserves more praise , since this is a good western and one of last movies of Steve McQueen. It's his last good movie.

The movie is full of brilliant dialogues. I don't remember when was the last time I have seen a movie where almost every exchange is intelligent and funny. The movie is worth watching for the dialogues alone.

The story is a little predictable , but the movie is well directed by William Wiard and grips you from start to finish. I felt sad at the end and that was the whole point.

The movie made me sad , because it was not only the goodbye to Tom Horn, but also to Steve McQueen ("Papillon") . Both were heroes from the past that were slowly dying in a changing world that didn't need them. McQueen did make one more movie after this one , but for me this is his good bye. A good movie and a great farewell to wonderful actor.

I give it 7/10.

Tom Horn is directed by William Wiard and adapted to screenplay by Thomas McGuane and Bud Schrake from Horn's own autobiography. It stars Steve McQueen, Linda Evans, Richard Farnsworth, Billy Green Bush and Slim Pickens. Music is by Ernest Gold and cinematography by John A. Alonzo.

Plot finds McQueen as legendary army tracker - turned hired gun - Tom Horn, who is hired by Wyoming ranchers to see off cattle rustlers, only to see them turn against him when his methods threaten their reputation.

As a big fan of both Westerns as a genre and McQueen (in the process of getting the cancer that would kill him) the actor, it's tricky trying to review Tom Horn (and his final film "The Hunter") without the heart ruling the head. Fact is, is that Tom Horn is not the glorious hard hitting Tom Horn picture that the character demands. It looks fabulous, is very melancholic, and McQueen is genuinely affecting in his performance, but the production problems (various attached directors, rewrites etc) are evident and give us a film of what might have been.

Nonetheless, this is no stinker, in fact, it's a very reflective piece dealing with a man out of his time - and he knows it. The narrative is strong on the end of the so called Wild West, a changing of the times, where law and order is about to finally become the dominant force. Horn was the man who helped bring in the mighty Geronimo, which gives the makers a chance to not only nod towards respect for the great Apache chief as a plot device, but to also let Horn, in McQueen's hands, show us a resignation of time being up for his kind.

One dodgy "special effect" aside, when the violence is required for the story it is an adrenaline jolt, this is because the tone of the piece is ultimately sombre. The hazy romantic thread between Horn and Glendolene Kimmel (Evans is fine in a thankless role) is suffering from flashback overkill, but the tender feel to it sits comfortably within the pic's earnest intention. The political aspects strike the required chord for narrative worth, and the key aspect of Horn's ultimate fate being based on fact or otherwise? is deftly handled.

Poor editing and a number of "time filling shots" grate a little, and if not prepared for a sombre pic then this will disappoint. Yet there's a lot of beauty here and if you be a fan of McQueen or not, his turn is brave, committed and very engaging. 7/10

As a McQueen fan I was somewhat disappointed in the film, but at the same time McQueen was ill, but proved that he could stick with a project to the finish. At least this version was more realistic than the David Carradine version "Mr. Horn", which was released in 1979. McQueen's version had a little more historical integrity than the latter version, and was more committed to telling the truth.

McQueen was always a physical actor, and especially in private as one of Bruce Lee's favorite Jeet Kune Do students, the others being James Coburn and Kareem Abdul Jabar. During the scene when Tom Horn escapes and is running from the deputies, I felt that McQueen was giving it his all, and that he knew his time was short, "so why not show the fans I've still got it?" The way he was gasping for air, and just gave up running made me think he wasn't acting, and however he felt after that take hurt me just the same watching it.

So let's not totally ignore what McQueen was trying to do. Even in "The Hunter", which was to go out in a blaze of glory. At that time in 1980, and his condition maybe that was the best he could give us. Still he gave of himself as an actor, an artist, and a professional right when the average guy couldn't, but we all know he wasn't the average guy. So let's give credit to "Tom Horn" where it's due, to it's star, who didn't want to let us down; by simply showing us he could still get in front of the camera and grace us simply with his presence.

The film is distinctive in four ways, the first being that Steve McQueen finally returned to the screen after having spent the 1970s elsewhere. He was a bounty hunter in the late 1950s on television, then jumped to prominence in "The Magnificent Seven" about 1960 and spent the next ten years as a dominant force on-screen. So this film was a "comeback." But McQueen came back as an artist, not as a cartoon version of his earlier self. His portrayal of Tom Horn does not use close-ups, quick draws or choreographed violence. The second thing that stands out here is the subject of the film, which is frontier justice on the high plains, a rough subject to be sure. "Tom Horn" (1980) is the first movie since "Shane" (1953) to deal realistically with the subject a part of which treatment is using the countryside itself as a character. There were a lot of movies beginning in the late 1960s with Clint Eastwood's "spaghetti westerns" which focused on the grisly righteousness of law enforcement, but it wasn't until Eastwood's "Unforgiven" (1998) that he finally made a movie that approached the quality of "Shane" and "Tom Horn," and employed some panoramic camera work. Third, the way the story is told is unfamiliar to most modern movie fans because it is so old, traditional and specific to the northern plains. The story is told, by veteran Western director Wiard, in the same way author Albert White Eagle tells stories, as a montage of contrasting fragments often out of chrnonolgical order -- "oh, by the way, I forget to tell you something, let me tack it on now" -- the juxtaposition of which fragments imply the surreal ambience of the times, an ambience which could not be effectively shown using the usual plot devices, cinematic close-ups, narrative summaries and chronological markers. For example, we see Tom in a jail cell looking at the clouds outside the little window, then we see him, with the same clouds in the sky behind him, shooting a young man (uncredited actor Sonny Skyhawk) who tries to kill the school marm as she bathes in the horse trough while talking with Tom. Is this something that really happened before he was locked up, or is it a fantasy or dream born of incarceration? It doesn't matter whether the scene is real or imagined, what matters is the jolt we receive by seeing it out of sequence. Most directors would have either shown Tom going to sleep in the cell, thus implying the scene was a dream, or would have had some narrative dialogue which indicated that Tom was remembering something that had really transpired. But Wiard, throughout the film, uses that northern technique. Another example is when we are visually escorted out of a scene in which Tom kills a rustler, with beautiful mountains in the background, into one where he is breaking a horse for the schoolmarm to eventually ride -- the same mountains are in the background, unchanged. A final thing about this movie was actor Richard Farnsworth. This was the first movie in which he had considerable dialogue, and was given a chance to demonstrate his skill at characterization. He plays John Coble, Tom Horn's employer. At the end of the movie is a 1904 quote from Coble, saying that that Tom was not guilty of the crime of which he was accused and convicted. This quotation, as Western researchers know, is from Coble's suicide note. And it foreshadowed Farnsworth's sucide twenty-two years later, a few months after being nominated, finally, for an Academy Award for his brilliant portrayal in "The Straight Story." McQueen, on-screen, and Farnsworth, on-screen and off, epitomized that quality of the Westerner least understood by people in the rest of the nation. The real Tom Horn said, "The people in the Northeast hire us to protect them from the people in the South," and, "We find the thing, whatever it is, then somebody else gets the glory for bringing it down, and somebody else makes the money for taking it back to the folks in town," but "You can either laugh or cry at your fate, and that's not much of a choice, is it, pardner?" The droll stocism and sardonic wit of the cowboy, and the western tracker whether white or Indian, has always enchanted and mystified the rest of the nation, and never really been understood. The movie, "Tom Horn," is a fitting tribute to the history and people of the northern plains, to Steve McQueen's artistry, to the memory of Richard Farnsworth, and to stories that are not easy to tell.

w. t. benda

This was a very good movie. One of my favorites of the west. I think it gives a good account of the actual event. I was in Cheyenne shortly after I saw the movie,the first time, and was able to find out a bit about the actual event.