Doc Holliday

Among the gritiest, dirtiest, noisiest westerns I've seen. As I write this in 2002 Doc holds up very well compared to recent films such as Tombstone and Wild Bill. Doc puts a different "spin" to the famous OK Corral story both in the telling of the tale and in exploring the multi-layered relationship of the characters to one another. Stacey, Faye and Harris are fabulous.

The best thing about this film is the first half hour, the classic posturing in the first scene ("We ain't got no cold beer"), Doc and Kate Elder's damaged courtship, a stark, music-less ride across scorching desert. The first glimpse of Tombstone (the town, not the movie) is equally exhilarating, everything is dirty and chaotic, men are fighting in the streets. From that point on, much of the film is boring and slow, though there was enough to hold my attention throughout. Seeing how the story will unfold is the most riveting aspect. The ending is satisfying enough, as is the script's odd take on how and why Doc wound up in the fateful gunfight at the coral. The performances are good all around. It warrants mentioning here that this movie is no more historically accurate than other films on the subject. Two major inconsistencies were already mentioned, and most historians' and witnesses' accounts have Doc playing a much more active role in events leading up to the fight. The overall feel of the film, though, is much more believable than your average Hollywood western. That's probably the most satisfying thing here next to the cast: the physical details, the look and feel. Just pretend the characters are all made up. And don't watch it if you're already in a bad mood.

At the very least, the Western drama 'Doc' manages to be somewhat interesting from start to finish, if not exactly factual. It tells the very familiar story of Marshal Wyatt Earp and John "Doc" Holiday in revisionist terms, and takes a very gritty, moody, psychological approach to the material, courtesy screenwriter Pete Hamill. It traces the journey of Doc (Stacy Keach) as he makes the acquaintance of prostitute Katie Elder (a de-glamorized Faye Dunaway) and rides into Tombstone to hook up with his old friend Wyatt (Harris Yulin), and to deal with the problem of such trouble making characters as Ike Clanton (Michael Witney).

Keach is the main reason to catch this film. Deliberately paced by cult filmmaker Frank Perry (best known for the 1981 camp classic "Mommie Dearest"), who produced and directed, it attempts to be as un-Hollywood as possible, and show darker aspects to these real life people, especially Earp, played as an opportunist. Perry's film begins on a very atmospheric note, as Doc arrives at an isolated inn / saloon during a windstorm. Ways in which the script humanizes Doc are how it charts his unusual courtship of Ms. Elder (appealingly portrayed by Dunaway) and his relationship with the well meaning "Kid" (Denver John Collins), who is the nephew of the Clanton brothers.

Keachs' engaging, melancholy performance is something to see. Veteran character actor Yulin is also quite good, in a rare above the title role for him. The supporting cast is comprised of less well known but still solid character players like John Scanlon, Richard McKenzie, Penelope Allen, Antonia Rey, Marshall Efron, and Bruce M. Fischer. That's writer Dan Greenburg as Clum the journalist, who in this fictionalization is decidedly anti-Earp.

It might be worth considering pairing this film with another gritty Western from the same time period, "Dirty Little Billy", which similarly took an offbeat approach to telling a familiar real life tale (in that case, that of Billy the Kid).

Seven out of 10.

As a movie it is a semi-interesting curiosity. What I find amusing is the comments of some people have made here, to the effect that unlike the romantic fantasies of previous Wyatt Earp movies, this movie finally reveals the ugly truth behind the legends. I have been studying frontier history for about forty years and to anyone who thinks the events in DOC (even allowing for dramatic license) have any connection to historic fact, I say: Only on the Bizarro Planet, Cheech. As someone else wrote, all it does it replace positive lies with negative lies. I remember when the movie came out, the producer-director was plugging it on TV boasting of how much research had gone into this movie; likewise, in a preface to a paperback edition of his screenplay (which, as I recall, was even stupider than the actual movie), Pete Hamill wrote solemnly about how he--crackerjack journalist that he is--had seemingly unearthed the long-hidden truth about the Wild West in general and Wyatt Earp in particular. What twaddle. Hamill seems to have read one book about the Earps--Frank Waters' discredited Earp BROTHERS OF TOMBSTONE--and then pretty much relied on the time-honored journalistic tradition of Making Stuff Up. He didn't even really follow Waters very closely.

Stacy Keach is Doc Holliday in the umpteenth retelling of the Gunfight at the OK Corral. Faye Dunaway is Big Nose Kate, the woman he runs into in a bordello and falls in love with. Harris Yukon is Wyatt Earp, various other people play various other people, and if there's a point to director Frank Perry's handling of Pete Hamill's script, it's that the Old West was a dirty place. Not figuratively, but literally so in need of a good cleaning that cinematographer Gerald Hirschfeld shoots all the interiors with a sepia tint. Even Miss Dunaway's white wedding dress looks ivory,

It's not presented as a story, but more as a series of events that happen to some ill-defined people. Of course, in many stories, it's the actions which tell us the characters, but Kerch seems to be just going along with things. I suppose that's a character, and it seems likely that a man who has been dying for years of tuberculosis might adopt the attitude. Still, it gives the impression that any random character at these events could have been the subject. One of the horses, perhaps.