À Procura da Vingança

Written by Abby Everett Jaques and David Von Ancken and directed by Von Ancken, "Seraphim Falls" is a rough, tough, old-fashioned western set on the dusty plains and snow-covered mountains of western Nevada. The plot is little more than a straightforward revenge tale involving Liam Neeson (sans Southern accent) as a sadistic Rebel army colonel who hires a posse to track down the marauding Union officer he believes slaughtered his family in the days following the Civil War. The officer, played with steely-eyed determination by Pierce Brosnan, is a savvy, quick-on-the-draw survivalist who, through sheer ingenuity and skill, stymies and outwits the colonel and his men at every turn.

What "Seraphim Falls" lacks in substance, it more than makes up for in grit and style. For even though there isn't a great deal of depth to the characters, there's much pleasure to be derived from merely watching two actors of the caliber of Neeson and Brosnan squaring off in a grueling game of cat-and-mouse played out in a punishing, unforgiving landscape. Brosnan's character achieves an almost Superman-like quality as he stays one step ahead of his pursuers, devising ever-more elaborate means of ensnaring them in his traps. The movie takes a decidedly metaphysical turn in its closing stretches, with the divine Anjelica Huston, no less, appearing out of nowhere as a desert apparition to set the boys straight on a few eternal verities like redemption and forgiveness. But it is as a simple tale of vengeance and obsession that "Seraphim Falls" most captures our imagination and interest.

SERAPHIM FALLS is an odd film, one that on the surface appears to be an homage to the old Westerns, but proves to be a psychological battle for survival between two men engulfed in revenge. There is very little story to relate: Carver (Liam Neeson) with a small posse of bounty hunters (Michael Wincott, Ed Lauter, John Robinson and Robert Baker) treks Gideon (Pierce Brosnan) through snow, forests, mountains, rough water, and desert over a Civil Ear seed of hate. The 'story' fades to a philosophical stance (somewhat clumsily) by the intervention of some ghostly creatures (Anjelica Huston, et al) and ends without much more than a whisper of a memory about the futility of revenge.

Bronson and Neeson do well with their scant dialogue, revealing more of their character's minds with physical action and the power of facial expressions. The mood of the film is in the superior hands of cinematographer John Toll and Harry Gregson-Williams' musical score. Director David Von Ancken keeps the tension at peak level even though the film is desperately in need of editing (just under tow long hours in length). But for a diversion and an appreciation for the wilderness of America in the mid-nineteenth century, SERAPHIM FALLS is a visually satisfying experience. Grady Harp

SERAPHIM FALLS boasts outstanding cinematography from the very beginning, with scenery ranging from snowy mountainous locales to sun-scorched deserts. The landscapes look and feel beautiful and the characters all have that weathered look, particularly Pierce Brosnan who's almost unrecognisable in the leading role.

It kicks off with action at the outset and remains a chase film throughout. The storyline is slender and the back story annoyingly ambiguous, at least until a late-on flashback that solves that particular mystery. The chase stuff is done well, with tension, drama and violence. I always enjoy these survival-style stories so this is a bit of a no-brainer for me.

Another highlight is the film's cast. Brosnan is on good form (I've always liked this actor, just not when he played Bond) and Neeson his match, but it's the supporting cast who interest me the most. Michael Wincott (ROBIN HOOD: PRINCE OF THIEVES) had me thinking of a young Fred Ward throughout, Xander Berkeley gets to be gruff, scary Tom Noonan (THE MONSTER SQUAD) shows up as a preacher and Ed Lauter appears just as I was thinking of this film's similarity to the Charlie Bronson flick DEATH HUNT (in which Lauter also starred in virtually the same part).

The ending is a little weird, moving on from the action-adventure format and becoming almost mystical and allegorical, featuring late-on cameos from Anjelica Huston and Wes Studi. It's not the most entirely satisfying ending I'd have considered, as it goes against the heartfelt vengeance focused upon for the rest of the movie, but at least it's different. A good, if not great, little movie.

It is easy to dislike a film that slows down during the middle to the point where very little is happening and for that reason, many people may not enjoy this film. Thankfully the performances kept my attention on the screen. The two leads are fantastic with Liam Neeson as the predator and Pierce Brosnan as the hunted. Brosnan particularly stands out giving a performance much different to what he has done before this. Right from the beginning you believe that he is trying to survive in the snowy Ruby Mountains whilst he is being hunted. Were it not for the two leads, this film would have been uninteresting to watch.

This is not an action western like 3:10 to Yuma, which is one of my favourite films I might add but is instead a drama that focuses on how far men will go to get what they want or what they will do to survive. Thats not to say that it is devoid of any excitement as the film starts off with Brosnan being chased through the woods and into the rapids. Without spoiling too much the ending is also gripping and concludes the film nicely.

The soundtrack for the film is great and works well with what is happening on-screen. While it may not be as rememberable as The Assassination of Jesse James, it nice to listen to as you look at the films fantastic cinematography. When they are in the cold mountains, you feel cold and that there is little chance of survival for the characters. When they are in the desert, you will feel their thirst for water.

If you watch the film expecting it to be slow and uninteresting, you will be surprised. Watch this film with an open mind and you will see that this is a very well made film boasting fantastic performances from the two leading actors.

I think you're going to see some very mixed reviews for this film. The tragedy is that it's going to be picked up primarily by fans of westerns, who are looking for shootouts and plots that can be boiled down to "good guys" and "bad guys." Do not go into this movie expecting that.

This is ultimately a revenge story, but not a straightforward or clean-cut one; in this way I would compare it to "Memento" and "The Three Burials of Melquiades Estrada".

It's not clear who we're "supposed" to sympathize with at the beginning. We want to sympathize with the revenge-seeker; but we're told almost nothing about why he wants revenge. As he displays at least as many brutal and mercenary traits as anyone else in the film, we question why we side with him, and realize that we're only inclined to do so because our previous experience with "revenge" stories has programmed us to do so.

But the quarry is far from a sympathetic character as well, and we're torn emotionally on what we want to see happen. That is, until the original tragedy is finally revealed. And I've honestly never seen such a well-conceived scene of this type... the tragedy is heart-rending.

I won't say much more except that as the film goes on, the degree to which it will appeal to fans of literal straightforward westerns decreases significantly. You see, as the film begins, Carver's pursuit of Gideon takes them through various isolated episodes: encounters with various characters. As the film goes on, these encounters become more and more obscurely surreal; the final such encounter seems almost supernatural or fantastic. The writer and director have peeled away the internal reality of the story, and are speaking to us through the form itself. Not something that your average Western viewer is likely to accept or appreciate.

Viewers will come to this film expecting a completely realist story; and that's what they seem to be getting at the beginning of the movie. The viewer is not prepared for this realism to slowly and obscurely fall apart - and while that may be the reason that the film creates such a powerful and somehow creepy experience by the end, the same factor is likely to leave most viewers feeling robbed.

Ultimately this film is definitely worth watching, but may not have enduring appeal to lovers of the traditional Western genre. A note while viewing: pay attention to the theme of loss, and how various possessions of the characters are lost.