Wild Bill

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.

In Wild Bill we get to see one of the best characterizations of the legendary western character. Jeff Bridges joins a pantheon of great players who've essayed the part of the marshal of Abilene, Kansas. Folks like William S. Hart, Gary Cooper, Roy Rogers, Guy Madison, Bill Elliott, Forrest Tucker, and Charles Bronson have all played Hickok with varying degrees of success.

Some of these people have played Hickok more or less nobly as the script and their screen persona permitted. Someone like Roy Rogers you know without seeing the film had Hickok be a straight arrow. The real Wild Bill was someone who was as tough as he had to be to enforce law and order in a wild and woolly town like Abilene, Kansas circa 1870-1871 when Hickok kept the peace there.

Among those other actors who played Hickok also includes Jeff's father Lloyd Bridges who did it in an hour television drama on the Great Adventure series. I saw that years ago and I wish I could remember more of it so I could compare father and son. The part I best recall is the famous story of Hickok accidentally shooting his own deputy who made the fatal mistake of coming up behind him too quietly and after he'd just shot one of Texas's rowdier cowboys. It's part of the Hickok legend and shown here as well.

Of course the manner of Hickok's death has also entered into folklore with wide and varying accounts of the kind of man Hickok's killer Jack McCall was. He was probably closer to the sneaky rat that Cecil B. DeMille had Porter Hall play him as in The Plainsman. Here he's shown as a drunk and scared kid played by David Arquette much in the same manner as Bob Ford was played by Casey Affleck last year. Arquette does well in the role.

Ellen Barkin is cast as Calamity Jane and while she's as tough as the famous frontierswoman, she's way too good looking. Too bad Louis B. Mayer never thought of using Marie Dressler for the part back in the day. Even she was a little too femme for the part.

The film is done in Citizen Kane style, narrated by John Hurt who is a close friend of Hickok in the story. It's a pretty good western, coming out when those are few and far between.

I was excited when this film was first announced, because I've always been fascinated with the character of Wild Bill Hickok. But the movie is a disaster. It is presented as a historical account of Hickok's life, and it is completely inaccurate. I can see embellishing the truth a bit for a movie, but it was just done totally wrong in this movie. The only good thing about it is that Jeff Bridges looked almost exactly like the real Wild Bill...

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.

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.