Da Morte Nascem Os Heróis

I'm a Texan and as such it's hard to take the obvious mistakes made in reference to Texas geography. One minute they're supposedly on the staked plains near the Palo Duro Canyon (in the TX Panhandle) and then suddenly they're showing mountains in Southwest Texas near Big Bend National Park. Then there's the Grizzly Besr incident. At that time there wouldn't have been any more Grizzly's left in Texas where they did once range a very long time ago. With all that said, this is a good movie and enjoyable to watch. I was impressed with how the Comanches were portrayed with some very accurate depictions of Comanche horse prowess. The acting is solid. It was nice to see it was filmed in Texas in areas where I've done a lot of hiking and camping.

The author of the book "Dead Man's Walk" also wrote the screenplay for this film, which is obvious when one sees how closely the film adheres to the book. Although I have read the book in question, it didn't curtail my enjoyment of the movie.

One notices how closely the young actors portraying Gus McRae and Woodrow Call (David Arquette and Johny Lee Miller) resemble older versions of the same characters as actualized by Robert Duvall and Tommy Lee Jones. My guess is that making that resemblance a fact was of paramount importance to the filmmakers, as the primary audience for "Dead Man's Walk" has already seen "Lonesome Dove" and would be disappointed if Arquette's performance didn't recall Duvall's and Miller's work wasn't reminiscent of Jones'.

Although it may have been primarily a marketing decision, the strong resemblance between young and old Gus and Call works for me and, oddly enough, binds the two miniseries together.

May we now see a miniseries based on McMurtry's second prequel, "Comanche Moon"?

Some things are best left imagined, no?

The real reason this was made at all and secured such a broad canvas (4 hours) is that we were eager to revisit these people, Gus and Woodrow from Lonesome Dove.

The story is that they join up with a hopeless filibustering expedition to annex Santa Fe, the film mirrors the exhaustion, aimlessness, dashed dreams on no man's land. The tone is darker—there is scalping, torture, lepers. Young Gus and Woodrow are narrowly reduced to caricature, which is bound to disappoint, but they are mostly side-characters on the journey.

But Lonesome didn't just have the endless expanses of sky and prairie, the riding and shooting. Embedded in that was a richer journey of memory and dying, a whole mess of life already folded in and centered on the vision of women. What's more, it was the true article of myth, the eulogy a mid-19th century woman like Clara would seek in a Whitman poem.

Here, we just drag our feet through the desert and the women (the same women) are tacked on in the beginning and end.

This old fashioned style T.V western yarn has some brilliant actors and is a prequel to the famed 'Lonesome Dove'. The strongest aspect of the story is seeing these Texas Rangers battle it out against the fearsome Apache and (lesser known) Comanche warriors. Although the show has quite a sentimental romance running through the three episodes, it also shows more than a few white folk getting scalped; a fate worse than death (but usually resulted in the latter). The quality of the cast raise it above the normal viewing standards and anyone who enjoys Westerns will certainly enjoy. Watching this it might put the Comanche at nearly number one, as bad-ass Indians as they hone torture down to a perfection.

Larry McMurtry seems to be turning "Lonesome Dove" into a cottage industry, but this "prequel" works fairly well on its own terms. It's mounted in good-looking style and has a first-rate whipping scene wherein Jonny Lee Miller, stripped to the waist, is tied to the back of a wagon and given 100 lashes, the first 50 by one man and the second 50 by another. When that first lash hits Miller's bare back, you not only see it and hear it -- you FEEL it!