★ 8 / 10
**_A minister moves West with his beautiful wife
Wuchak
**_A minister moves West with his beautiful wife to pastor a church in Montana_** This is a surprisingly good Western based on the storyline of Willie Nelson’s…
**_A minister moves West with his beautiful wife to pastor a church in Montana_**
This is a surprisingly good Western based on the storyline of Willie Nelson’s 1975 album. I say “surprisingly” because (1) Nelson is a musician not an actor and (2) I assumed this was a TV production like Nelson’s other Westerns from the 80s, “Stagecoach” and “Once Upon a Texas Train,” not to mention Kenny Rogers’ “The Gambler.” Turns out, it had a limited theatrical release and is R-rated.
Whatever you do, don’t read the descriptive blurb on IMDb or streaming channels since the ones I’ve read give away a key plot point. I’m glad I didn’t read ’em beforehand and so was taken aback by the turn of events, in a positive way. Let me put it this way, the story’s not as one-dimensional as it might first appear.
R.G. Armstrong stands out as Sheriff Scoby. Morgan Fairchild, Royal Dano and Katharine Ross are other notables. For those who think Fairchild was miscast, she wasn’t. Think about it.
It runs 1h 48m and was shot in late spring at Spicewood, Texas, which is about a half hour drive northwest of Austin, plus nine other spots in the area. The main town set dubbed “Willieville” was built over the course of two years across the street from Nelson’s golf course.
GRADE: B+/A-
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★ 7 / 10
Surprising Western Outpaces Expectations
jcbcritique
When one thinks of singers trying to act, the first culprits that come to mind are Frank Sinatra in "From Here to Eternity" and "The Manchurian Candidate", or…
When one thinks of singers trying to act, the first culprits that come to mind are Frank Sinatra in "From Here to Eternity" and "The Manchurian Candidate", or Elvis Presley in anything. Usually, the crossover does not work because a particular kind of singer may just have too much personality (or "baggage") to fit himself into a particular role.
Here, though, the transfer works, and it is a result of the kind of singer Willie Nelson was, and always has been. His style of delivery as a musician is all understatement, quiet nuance, and behind-the-beat phrasing. There is a sort of conversational verisimilitude in his singing that crosses over into acting (screen acting, at least). His style of singing is almost the equivalent of the "method" school of acting -- it is all psychological and physiological recall.
So, Nelson is nearly perfect as Parson Shays, for that reason, and for another; the character was already fully-realized in the musical album version of "The Red-Headed Stranger." The screenplay is largely just a fleshing-out of Nelson's narrative vision. If you doubt that, give the album another listen; it has a surprisingly coherent, and direct storyline that connects all of the songs (even several not penned by Nelson himself, most particularly Hank Williams's "Blue Eyes Crying in the Rain").
Now, of course, the question still remains: how good is the story itself, and how well has it been rendered on-screen? This is not a Western on par with Leone's, Ford's, or Eastwood's. Nor it is meant to be. It is, however, remarkably well-crafted bit of movie-making. For those who object to the seemingly amoral content (the murdering of women), the only response is that a piece of narrative fiction is not a sermon, and artistic judgment is not the same as moral judgment. Furthermore,the old-school, "white hat/black hat" type of Western was already on its way out around the time of "Shane."
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AUDIENCE
6.6/10
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One of my favorite movies. thx. Please seeeeed...