By John H. Foote

SNUBBED ENTIRELY, BUT MASTERFUL NONETHELESS…

Kevin Costner won an Academy Award for Best Director for his western epic Dances with Wolves (1990),
which won six other Oscars including Best Picture, and saw the likable star nominated for Best Actor.
This was very near the beginning of his career, when his baseball films Bull Durham (1988) and Field of
Dreams (1989) had made him a huge star and box office draw, giving him the power to make a film he
wanted to make, which was this western. At three hours running time, with one third of the film spoken in
Lakota with subtitles, and a western, early reports on the film dubbed it Kevin’s Gate, with the industry
expecting it to be a massive flop.
It was not…at all.
Instead the picture was a resounding success with critics and audiences, made the western popular
again, turned Costner into a huge star and director, and to this day is a hugely likable film. Was it a better
film than Goodfellas (1990)? Not at all, but it caught the imagination of North America, was the first great
film to tell the story from the Native American point of view, albeit through the eyes of a white man, and
atoned for the years of portraying the natives as blood thirsty savages. It was perhaps the first honest
picture about the Native Americans and their lives, their betrayals by the whites, and their connection
with the land.
In the years directly after the film, Costner scored again as an actor with JFK (1991) and gave his finest
performance in A Perfect World (1993) for director Clint Eastwood. He was in the massive blockbuster
The Bodyguard (1992) with pop princess Whitney Houston and it seemed his star would never dim. But
oh how it did and when he fell he fell hard.
Wyatt Earp (1994) was a massive flop, Waterworld (1995) was crucified by the critics, and finally The
Postman (1997) which he directed was one of the biggest flops of the nineties, and mercilessly ripped
apart by the critics.
Very slowly he began rebuilding his career, and in 2003 released a western he had directed, displaying
his deep love and mastery of the genre. Co-starring with the great Oscar winner Robert Duvall, Costner
portrayed a former gunfighter trying to find peace working with an open range cattle man, Spearman
(Duvall) who is his father figure, mentor and spiritual guide. When one of their hired hands is beten and
then killed in the local town while buying supplies, he and Spearman journey into town to try and find out
what happened. There they encounter Baxter (Michael Gambon), a vicious wealthy Irish cattle baron
who owns the town and apparently everyone in it, terrorizing the locals with his bullying tactics. Baxter
demands Spearman move his cattle away, but the old trail boss refuses, believing there is enough room
for everyone. Baxter lashes back injuring Button, the young man working for Spearman and muirdering
his huge, good natured cook when the gentle giant comes to town for supplies.
Knowing Baxter will employ hired guns, Charlie tells Spearman his past as a gunfighter and that this is
how they need to play this one. With regret Spearman agrees and listens to Charlie lay out their plan.
Along the way Charlie is falling in love with the local doctors sister Sue (Annette Bening) who abhors
violence but sees in Charlie a good man, a decent person struggling to be such. He is straight with her
telling her men are going to die and he is going to kill them, but it does not scare her away because she
believes the men he is going to kill are worse men than he.
The gunfight is remarkably staged, fast, furious, startling in its realism. The men line up and Charlie
steps forward, asks a question and shoots the hired gun through the head before anyone can speak, and
the bullets start flying. Charlie proves to be as good as he claimed, lightning fast and fearless, and
Spearman is no slouch either with a rifle. Percy (Michael Jeter) an old man running the livery proves to
be a help to them, pointing out where the others are and blasting a few shots of his rifle.
Open Range has all the qualities of a great western and delivers to the audience everything they expect

and then some from such a film. There are no questions as to who the good guys are, who the villain is,
and the director superbly explores the main themes of the genre, man vs. man, and man vs. himself.
Costner gives one of the best performances of his career as Charlie, the quiet but dangerous man with a
past, and though Spearman suspects his friends past, it is never discussed till Charlie decides the time is
right. He makes it clear he did not enjoy that life, but when necessary he is willing to strap on the guns
and do it again. There is a sadness to Charlie that is unspoken, a sense of something missed, but an
awareness that he might gain it with Sue. All business during the gunfight, there is little doubt that he
was once a killer, no question he was very good ata killing, no question he is a dangerous man.
Duvall is superb as always as Spearman, the old trail boss steeped in decency and old west virtues. He
is in every way a good man, drawn into a terrible situation by a very evil man, Baxter, who enjoys far too
much the power he wields over the townsfolk. The actor looks as at home in a western as John Wayne
did, his face now wrinkled into sort of Mount Rushmore of goodness. Perfect casting. He and Costner
have a lovely chemistry together, they seem to have been together for more than twenty years on
screen. Just a very easy, relaxed chemsitry between the two.
As Baxter, Michael Gambon is frightening, willing to kill for a bit of grass, taking pride in the fear he illicits
from the town, and the terror he tries to bring to Spearman and Charlie by going after their weaker
employees.
And Annette Bening, always lovely, is wonderful as Sue, a woman on the other side of forty who sees in
Charlie a chance to give the love she has been saving up.
Michael Jeter, a beloved character actor so good in The Fisher King (1991) gives one of his last
performances as Percy, filling the Walter Brennan role as the old codger who sides with the good guys
and proves to be of more use than we think he can. Not as much as comic relief as Brennan was used
for, instead Jeter has a deeply moving scene reading a letter Charlie leaves for Sue in the event he be
killed. Canadian actor Kim Coates has a splendid cameo as the other sides gunslinger, gunnned down in
a single shot as the fight starts.
The film did very well the summer of 2003, was well reviewed, and in many ways is a better film than
Dances with Wolves (1990), but being a western did not find the audience it needed to find some Oscar
success. It should have, as it is one of the best westerns ever made, containing a realistic and
frightening gunfight that gives some idea of how fast things happened with gunplay, and how important
having a cool head and no fear meant. Certainly one of the best films of its year and the new century,
Open Range (2003) proved yet again that the American western is one of the most enduring genres in
film history.
By the end of the year, other bigger films had come out giving Open Range no real shot in the Oscar
race, but I believe it should have been there.

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