L'Homme sans frontière

This unheralded subtle film should be a "must see" for students of western US history and film buffs alike. The plot is a believable story involving characters that are NOT larger than life. These are people we could expect to know - only 125 years ago. As others have observed, Verna Bloom is THE western/frontier single mother in this film. She looks the part and shows us the day-to-day hard work of her life. Warren Oates has always been the classic prototypical "cowboy" and never elsewhere is he more perfectly cast. Finally comes Peter Fonda. Who could have thought that he could go from the drug-running renegade of Easy Rider to the thoughtful character struggling with deep conflicts of loyalty and justice? It is a tour-de-force that creeps up on you in its quiet way.

This film works on many levels. The story, the characters, the cinematography, the music, the dialog are all top flight - especially since the dialog is sparse and punctuates moments of thoughtful non-verbal imagery. If you want to see it your best chance is on Bravo or some public broadcasting service station. Please, PLEASE - somebody put this one on video or DVD. In genre this film deserves a solid nine out of ten. In general at least a 7.5 out of ten - try to see it!

You know a film has impact on you when you remember it 30 years later. Those that are mediocre all merge together and fade from memory quickly, but a good one you're still thinking of a week later --a great one, years later. The Hired Hand is like that. I saw the movie in 1971 and thought it mesmerizing. The other night I was delighted to see the remastered copy in Blockbuster, and I had to rent it right then and there! It was even better than I had remembered. The cinematography was nothing less than stunning -- especially the sunsets. It has the most unusual and haunting soundtrack of any movie I've seen.

I have to laugh at the reviewer who thought Verna Bloom was ugly. Verna was perfect for the role of the quintessential pioneer woman -- strong and direct, with an amazing presence and an inner beauty. I guess that "beautiful Hollywood people" have been playing the guys and gals next door for so long that average looks have become "ugly" to us. Heaven help us all.

Some of the scenes in the movie are quiet but powerful. One is strangely erotic -- Verna Bloom is sitting in her rocker on the front porch and Warren Oates on the step near her. As she explains to him that it wouldn't really matter who she slept with that night (either he or Harry would be interchangeable), Warren Oates character is visibly moved and caresses her bare foot for a few seconds before the scene fades to black. This is a example of a how "less can be more" in an erotic scene -- it was brillantly done.

I give this movie my highest recommendation.

If you're into film that has to have a cut every 3 seconds to stay interesting, skip this one. But if you're into film as an art form, this is a must see.

The photography is masterful by Vilmos Zsigmond. From the deeply rich silhouettes made with the natural light of a sunset to the shading and textures of lamp and fire light, this film is a profound lesson in painting with light.

The montage scenes blend the beautiful images into a pensive and graceful passage of time. The editing creates a deliberate pace that recreates a time when a horse trot was the natural speed. But when the gun battles begin the pace quickens to a gallop.

The delicate music is perfect blend of instruments for the visuals and provides the emotional depth that music should.

Under Peter Fonda's creative direction the film's elements deliver a story of a man who returns home to make things right because he had the courage to change. And just when the man and his wife restore their love and trust in each other, he had the courage go away again to save his longtime friend.

To call this picture a Western is to diminish it, although it is in fact a Western; to call it a picture about male bonding is to do likewise, although it is most assuredly about that. It is so much more. Like the greatest works of art in any narrative medium, it concerns human relationships, including a person's relationship with the self. Because the story is presented with unrelieved seriousness it will not come close to appealing to everyone - but neither will the classic novels, plays, poems, etc. As an example of cinematic art, this obscure film belongs among the greats. All aspects of filmmaking are handled with a firm but sensitive touch. Its obscurity is difficult to explain, and impossible to justify.

I had forgotten about renting "Hired Hand" until I saw the DVD in my mailbox. Looking at the printing on the disk, I shook my head, thinking the movie had to have been a mistake. But the whole film simply embraced my senses and I didn't want them to let go, even as the film ended.

Visually, it was no typical Western, Spaghetti or traditional. In fact, this isn't the kind of movie to watch if you're into the drama of the shoot-out or chase. Emotionally, it captured nuances and a sensitivity that the likes of masters John Ford and Sergio Leone steered clear of. Please, watch this film in its completely, and then play it with the commentary of director Peter Fonda. He adds some interesting information, including that the voice of Larry Hagman was even used for just a moment at one point in the film.

The characters gallop far from the typical. The movie simply looks western, but doesn't feel western. Nor do the sounds, as the music was beautifully atmospheric. This film should have been included for submission to the Academy Awards. The cinematography might make some feel somewhat put off by the layers of fades and dissolves, but relax and let yourself become absorbed by the acting, writing and production.

Overall, this movie, while it has an incredible climax, lives through subtlety, which is captured by a director who seems to been a labor of love.