Wild Bill

Historians may scoff, but Walter Hill's "Wild Bill" is an absorbing and intriguing western with elegiac overtures yet much of the emphasis placed on the battles. Jeff Bridges does a fine job as scruffy, mangy, weathered James Butler Hickok in the 1870s Midwest, getting into brutal fights while doing nothing more than standing at a bar (John Hurt's narration tells us, "Being 'Wild' Bill was in itself a profession."). Ellen Barkin plays Calamity Jane like a lovestruck toughie who clucks behind Hickok, waiting for a commitment; David Arquette is Jack McCall, a young man defending the honor of his mother, whom Hickok loved and left. Occasionally, director Hill hits a stumbling block (there's an inconsequential bit with Keith Carradine as Buffalo Bill Cody which disconnects the mood, and also a black-and-white flashback filmed in high-contrast where Hickok attempts to talk sensibly with a no-nonsense Indian tribe). Still, the hand and gun bouts are fully charged with adrenaline, and there's a genuine feel for these sad, meandering people that recalls strong sections from other westerns, particularly "McCabe and Mrs. Miller". A bumpy film, but not a bad one at all. **1/2 from ****

Most reviews seem to look at this through the prism of "Deadwood," which seems unfair as the elongated TV format allows for far more character development. So to point out that the characters in "Wild Bill" aren't as-- well, you get the picture. Viewed alone, the movie deserves praise for performance, set design, a sense of period dialogue and historical accuracy in visual recreations. Yes, WB really did wear Navy Colts backwards, cavalry-style, in a red sash; yes, he did have greasy lanks of hair and wear a big floppy hat, a thick tie and a vest that didn't match his jacket which didn't match his pants. And for about an hour, I think the movie is pretty amusing. But when it sinks into Deadwood over its last hour, it appears to use too much of the stagey dialogue of one of its sources, a play by someone named Thomas Babe. At this point, it pretty much abandons history which is bad enough, but also cinematic fluency, of which Hill is a master: it becomes static, talky, dreary, and completely loses its momentum. And someone--Babe?--made the decision to give the McCall-Hickcock dynamic an Oedipal overtone--he's the "son" of a woman once loved , then abandoned, by Hickcock. This is an attempt at coherency, to bring the murder into some sort of classic framework. Yeah, swell, however: McCall was much older, a buffalo hunter who'd lost dough to Wild Bill the night before. He didn't stand for the abused son, he stood for the randomness of frontier violence, where booze, pride, stupidity and a culture of pointless aggression could easily spell an ambush murder like McCall's. THAT, to me, would not only have been more accurate, but more fluent and a better movie.

Walter Hill has based his screenplay on two literary works by two individuals: Paul Dexter's book and Thomas Babe's play. Hill is a good screenplay-writer himself. I recommend viewers to view the film as an example of a good screenplay and not be unduly worried about facts.

The structure of the narrative is simplified by the sepia and black-and-white flashbacks by the director. Unlike other directors, Hill chooses to uses tilted shots for most of these flashbacks, suggesting a "colored" viewpoint of what is shown.

The film can be dismissed easily as a crass action western--but this film looks at bravura narcissism (opening shots of shooting a glass on top of a dog's head), a man who refuses to be tied down to relationships with women but is friendly with men, stupid reactions to knocking his hat, etc. The heroics may belong to the mustachioed men rather than the clean-shaven but the film has more to offer than hairy faces.

The casting of John Hurt, Bruce Dern and Ellen Barkin is commendable--they provide fascinating screen time that adds to the credibility. Hurt and Barkin who open the film carries the film even though Jeff Bridges proves to be a credible lead player but he is no great thespian.

The film ultimately belongs to Hill and art director Dan Olexiewicz, with the atmosphere changes from bright sun to slushy streets--that strangely keeps pace with the characters. Hill develops the characters slowly through filmed flashback and dream sequences (visit of Wild Bill to the insane asylum, the conversations with Red Indians, are examples) rather than the spoken word of the main character and that contributes to the feeling that most characters are not fleshed out. They are well developed, in an unusual way. This is not great cinema but above average stuff--a good way to describe Hill's body of work.

Making a movie about a legend is a tricky situation; it is worse when the pages of history are filled with myth. There is no doubt that 'Wild Bill' Hickok was a lawman, gunman and Western legend. There is the problem. He was so famous that numerous sources sought to make their fortunes on stories embellished for sales. The most notable was the "dime novel." The makers of this movie did as good a job as anyone has it trying to tell the true story of this legend.

There are scenes not found in Bill's history, but they are historical for the time. The classic Western model is not in play. Indians, Chinese, black cowboys, ... etc are muti-dimensional characters. The added scenes flow the story and add depth. Even with numerous flash backs the story flows well.

Jeff Bridges as "James Butler 'Wild Bill' Hickok" and Ellen Barkin " as "Calamity Jane" do great jobs with the main characters. Bridges while in costume actually resembles the pictures of the real "Wild Bill." The romantic relationship between these Western notables and its development is well done. The interplay sets this movie apart from most Westerns, and adds appeal to those who might not be Western fans.

Two of the best pieces of acting are by actors with smaller parts in the film. Watch for Keith Carradine as "Buffalo Bill Cody" and John Hurt as "Charley Prince," Bill's friend and the character narrating the film.

James Gammon (I) does a good character role as "California Joe."

If you like Western history, this is a great film. If you want a classic Western flick and non-stop action, you may find it slow. For anything more accurate you'll need to go the library; to date, this is the best film on Hickok.

I wasn't expecting much from this one, but Walter Hill's direction credit during the opening title sequence sucked me in - and I was glad it did.

A very capable cast and an interesting cinematic style gave this film a unique flavor, although some of the characters bordered on unbelievable at times.

Loved the interaction between Wild Bill and Calamity Jane on the saloon table, although the conversation seemed too modern for the late 1800s. But overall, the film was a great way to spend a Sunday afternoon, especially when compared with some of the lesser films available at the time.