Rough Riders

Damn fine film. Some historical points have been stretched a bit, here and there...Bucky O'Neil was a madman who refused to keep his head down and got shot right through his cigarette ... Fighting Joe Wheeler was a bantam rooster of a man (5'3") but with the heart of a lion who did indeed keep referring to the enemy as "the Yankees"...TR's Rough Rider's attack was up the nearby Kettle Hill (Cero de Olla) where they racked the Spanish position across the narrow gully with deadly fire; when the Spanish [and there were about 1,500 men-- not 500, as some reviewer suggested] broke to fall back to Santiago, TR boldly took off alone toward the San Juan Heights (Los Altos de San Juan)having forgotten to give the order to charge...

OK. Enough of History. Yes, Stephen Crane, author of The Red Badge of Courage, was a "looper," as one reviewer puts it, and yes, WR Hearst was a war-baiter-- anything to sell papers and fan the fires of xenophobia... But, hey! This is a damn fine film that captures much of the spirit of that "Bully little war," that launched TR's career into the White House. Tom Berenger is wonderful as the one and only TR who adored by his men (reportedly, on the march into the interior from the coast, TR walked with his men, refusing to ride, through the humid, hot forest and always saw to it that "his boys" were taken care of first. I too noted sadly, the weariness of Brian Keith prior to his suicide, as President McKinley. This film is definitely worth watching again ... and again.

This is an excellent film, with superb sound editing, great cast, acting, cinematography, and script. Non-Americans should realize that the battle of San Juan Hill is a significant part of American history that instills patriotic pride as well as admiration for one of America's most colourful and popular presidents. However, Americans should find it interesting to know the Spanish perspective. Approximately 500 Spanish soldiers fought valiantly against nearly 7000 American troops: this is the 'Alamo' for the Spanish people. Similar to USA Vietnam veterans, the Spanish returned home with the knowledge that they had done their best to uphold their country's honor in an impossible situation. Knowing some of the history behind such battles brings more depth to such war films.

Love him or hate him, you have to admit that John Milius has returned in force to make this wonderfully epic movie. He only made two other films (barely) worthy of note: the underrated Flight Of The Intruder and the equally under-rated Farewell To The King. Though directed for television, Rough Riders has all the qualities of a great war epic from the sixties.

What helps Milius is his love of the subject matter. With The Wind And The Lion, Rough Riders feels as though Milius has a deep and abiding love for Theodore Roosevelt. Every frame of this movie gives you the feeling that Milius is working from the heart. His passion and respect for his subject matter illicited the greatest performance of Tom Berenger's career.

If you liked this, do see The Wind And The Lion.

Tom Berenger is a superb actor, and I think his talent is often overlooked. He was funny, affecting, and ennobling in "Major League," a comedy about a misbegotten baseball team. He was chilling, on a knife's-edge (a one-man Hitchcock plot - no way to tell where he was, or what he might do, or what he knew... but no mistaking the motivation and emotion, either... indescribably human, he was) in "Betrayed." His performance there was such that one hated and feared him from the very start, but ended up praying that he would not be slain. I heard little about his effectiveness in either case. And yet, there was, of course, his screen-shattering performance as Sgt. Barnes in the brilliant, alligorical, and hard-hitting Oliver Stone production, "Platoon." He won plaudits for that one, and well-deserved ones.

In this one,"Rough Riders," he is given a juicy, meat-filled slice of adolescent Americana, to play - an incorrigible and inimitable American hero, the irrepressible Theodore Roosevelt. Rather than restraining himself, or attempting to portray TR as - well, as an adult - Berenger seems to let his performance carry itself, unconsciously. He is as over-the-top as TR himself. This is, at all times, under a thin, barely-controlled layer of respectability, very similiar itself to the state in which TR himself seemed to be born. TR's life, much of the time, was a bouncy, swashbuckling melodrama - and Berenger plays all of this to the hilt, and with the necessary controlled-abandon. He might be critisized for over-acting if it wasn't for the plain fact that this is, in fact, the way TR behaved. And anyone who cares to witness Mr. Berenger's other performances (including his most recent roll, as a delightfully dour and cynical sheriff, on USA's "Peacemakers") can see, his sensitivity to the depth of the characters he plays is extraordinary - one can almost pity him, in this case, for choosing to play a man who himself embodied unbelievable melodrama.

Suffice to say, the entire picture is worth watching, just to see bully old Teddy back again, alive and in the flesh, trying to start a war, and then trying to fight and win that war... Berenger brings it all to life, brilliantly. He shouts "bully!" with enthusiasm, he studiously prepares several pairs of spectacles for his expedition to Cuba, we see him trying to improve his piping, asthma-riddled voice, the better to command his soldiers - and, later, we see him fall quite out of his chair at the jest of a comrade, declaiming, "I was overcome with mirth!" Such scenes will overcome the viewer with mirth, as well - but a knowing mirth.

Having said that, this film's best moment is near the beginning, and it involves Illeana Douglas, who plays Teddy's wife, Edith, with a healthy dash of long-suffering tolerance, as if she would leave the set if she could just quit loving the man she'd married. Her defense of the macho (but defenseless) TR in the face of the French is played off terrifically. She comes across as precisely what Edith herself, in fact, was - a woman who had long since resigned herself to the hell-for-leather forays of her headstrong husband... and she defends him with the ruthlessness of a woman who knows that no foreigner will ever understand the boundless Americanism (or worldy childishness) of her husband.

This is not a brilliant film, but it is an entertaining one. The battle scenes are well done, but, aside from what I mentioned above, the real fun in the picture is in the "boot-camp" scenes. A well-cast and icily forbidding Sam Elliott, along with the silent, brooding threat-in-being of David Midthunder, makes these scenes more interesting than the typical military drill-sergeant fare. By the end of the training process, even those watching the movie are longing for the approval of the aloof and mysterious Midthunder - who, in a nicely balanced final scene, explains himself in a way that banishes mystery, conjures comradeship, and evokes sympathy.

One other character commends attention here. Gary Busey plays the ancient Confederate General Joseph Wheeler - a hero of the Civil War (for the South, anyway). Like Berenger, his acting is sure to be termed overdone, excepting the reality that his character was, in fact, a hell-for-leather, horse-riding, Yankee-skewering madman... And there is great pleasure in the watching of Busey bringing this nutty semi-senile General to life. He demands assurances from the President, and we see him repeatedly mistake the Spanish, who we Americans were fighting in this war, for "Yankees." (In the end, the addled, overweight, and over-enthusiastic General settles upon the phrase "them Yankee Spaniards," when referring to the enemy...) It is a fun portrayal of a man whose time has past, but who refuses to acknowledge the fact. Busey's Wheeler is so wound up in the sound of the guns, that he loses all reason, becomes delirious, and yet, beneath it all, hangs inadvertantly to the vestiges of heroism. I think there is little choice but to root for the ill-guided but irresistable General. Having such a melodramatic icon on screen with a viviedly-created TR is almost too much fun to bear.

There is humour and adventure enough for all, in this.

In the end, I recommend this picture for the terrific performances of Tom Berenger and Illeana Douglas, as well as the historical accuracy of much of it. I have left out, in these comments, sympathetic and effective performances by Chris Noth and Holt McCallany, who help make the movie go, and serve to tie the audience into the volunteer soldier idiom. Francesco Quinn brings patriotism, duty, and honour to life - unexpectedly (at least, to Anglo-Americans who know nothing of Latin qualities) in the guise of a love-struck Latin-American. His character, I think, speaks the most towards what modern soldiers might say, that we "all fight for each other." Quinn elevates these platitudes into reality, as the film portrays him carrying out his values, making decisions according to a code he had initially resisted in the interests of staying with his sweetheart. I have also left out Brad Johnson, who's trite "bad-man who learns honour" roll is, nevertheless, well-played. I could write much more... alas, just watch it, and see. A lot of fun. And very, very well done.

I didn't realize John Milius had this fine film in him (after all, he gave us RED DAWN). I stand corrected. I liked the film so much, I had other members of my family watch it, and they loved it, too. How pleasantly surprised I was by Tom Berenger's superb performance as Teddy Roosevelt. Watch for Berenger as he stands at the back gate of the caboose of a train he's commandeered to transport his troops. He has no dialogue, but get a load of the look at his face and his bearing. He just stands there, beaming, so gloriously alive with the spirit of the man and his times. Look for standout work by Gary Busey (I really wanted him to say "Mr. Roosevelt! Look at the firepower!") as the feverish Southern general Joe Wheeler, Illeana Douglas (a fresh surprise as Alice Roosevelt), Brad Johnson (who has easily the most beautiful smile in Hollywood) as the outlaw-turned-hero Henry Nash, Nick Chinlund (a fave "X Files" creep) in a great scene as Frederick Remington, and Chris Noth as the privileged Craig Wadsworth. All are tremendous. Sam Elliott turns in both subtle and commanding work as Captain Bucky O'Neil, a man as heartbreaking when he bids his wife goodbye as he is terrifying and awesome when he breaks his troops in to the concept of killing. My quibbles with the production are few: silly, Attenborough-style casting of George Hamilton as a too-handsome William Randolph Hearst, cheesy use of the "St. Crispin's Day" speech from Shakespeare's KING HENRY V, very little information on what the war was actually about from both sides (the opening credits block the vintage headlines that supposedly bring us up to speed). Still, the battle sequences are masterfully staged (watch the horses run by Remington while he paints--gorgeous shot!), the training sequences are fascinating, and Berenger's expression once the Battle for San Juan Heights is over is simply heartwrenching.