Welcome, dear readers, to another edition of Sunday Morning Movie. Today, we delve into the chilling and merciless Western, The Shooting, often characterized as Western Noir.
Reviews:
Cagey Films notes:
From its very first scenes, The Shooting establishes itself as anything but a conventional film. With its skillful use of cinematography, editing, and sound, director Monte Hellman creates an atmosphere of profound disquiet. The protagonist, Willett Gashade (Warren Oates, in his debut leading role), pauses at a river to hydrate but senses someone following him. He deliberately leaves markers to denote his trail. Upon returning to the mining camp he shares with his brother and two others, he is shot at by the anxious younger partner, Coley (Will Hutchins), who awkwardly recounts the tale of Gashade’s brother Coigne and their partner, Leland Drum, returning from a nearby town, where they allegedly drunkenly ran over a man and possibly a child. That night, Leland is shot dead by the campfire, and Coigne flees on Coley’s horse. This disjointed narrative springs from Coley’s jittery, nearly incoherent ravings, leaving viewers in the dark as the film progresses.
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While the dialogue—crafted with elegance by Carole Eastman—might suggest clarity, the essence of The Shooting lies in its allusive and elliptical storytelling. The characters, with whom we only have limited access, resonate with psychological authenticity, enriched by their distinctive speech patterns. However, our understanding of who they are and the events bringing them together on this barren, desolate landscape remains scant. As viewers, we find ourselves filling in myriad blanks. The film encapsulates themes of uncertainty and obscurity, reflecting how we construct narratives to make sense of fragmented experiences. It serves as an epistemological western, imbued with hints of Greek tragedy, portraying a woman as a relentless agent of fate guiding men to their doom for unspecified transgressions. Ultimately, just as the narrative seems poised for a straightforward resolution, it veers into deeper ambiguity—foreshadowing the eventual collapse of cinematic conventions seen in Two-Lane Blacktop.
Apocalypse Later adds:
A key reason for the film’s effectiveness lies in its deliberately ambiguous backstory. Hellman adhered closely to Eastman’s script, discarding the initial ten pages of exposition, which he deemed inherently artificial. Roger Corman, who served as the uncredited producer, insisted on emphasizing one vital detail three times to avoid startling audiences with the film’s conclusion—but that was the extent of it.
Stripped down to its core, this western presents a semblance of a shocking event followed by a quest for revenge. However, the depth of character development elevates the narrative beyond its basic premise, culminating in an ending that enriches our understanding of the film’s unfolding. Although it’s a relentless expedition toward death, it remains an intriguing journey.
There’s no drug use depicted, yet the desert serves as a compelling alternative—as dehydration imposes harsh consequences. Strikingly surreal scenes unfold in the barren landscape of Kanab, Utah, a small town dubbed Little Hollywood. At one point, the central figures encounter a bearded man with a broken leg, waiting aimlessly in the desert. It’s a bizarre yet significant encounter, underscoring that his dire condition parallels their own. Even if they reach their destination, their safe return is far from assured.
While I appreciated the film during viewing, it continues to linger in my mind due to its remarkable use of minimalism. Much of it is pure cinema. The enigmatic woman speaks little, Willett listens more than he speaks, and Billy Spears conveys much through his demeanor. Only the loquacious Coley babbles incessantly, offering little of value, making his chatter feel redundant.
As we immerse ourselves in the story’s purpose, we too become enveloped by the desert. Although they pass through a small town named Crosstree, the adventure primarily unfolds in the unyielding wilderness. With few people and scarce details, it’s all about the depth of feeling.
Western films were transformed forever by this narrative.
My perspective: The Shooting delivers a profoundly dark take on the Western genre, devoid of levity. Even Sergio Leone’s works contain moments of absurdity amidst their bloodshed. Coley’s character, portrayed as mentally challenged, presents a loud and eccentric foil to the grim tenor of the others, amplifying the tension.
One of the film’s more brutal aspects is the fate of the horses: one is shot, another succumbs to a fractured hoof, while several perish from dehydration. It’s hard to recall another Western where so many horses meet tragic ends.
Moreover, the film’s surreal quality stems not only from the stark desert backdrop but also from an enigmatic narrative. Information about the characters and their motivations remains scant, leaving ample ambiguity. However, this choice feels intentional, enhancing the film’s essence rather than detracting from it.
Director: Monte Hellman
Writer: Carole Eastman
Notable Actors: Jack Nicholson, Warren Oates, Millie Perkins, Will Hutchins
Plot (Spoilers!):
Willet Gashade (Oates), a bounty hunter turned miner, returns to his camp only to be met with surprise and gunfire from his dim-witted partner Coley (Hutchins). After soothing Coley’s fears, he learns that their companion, Drum, was shot and killed days earlier, possibly avenging a crime committed with Gashade’s brother Coigne while intoxicated. Following Drum’s murder, Coigne had vanished.
The following day, an enigmatic woman (Perkins) arrives, offering Gashade a substantial sum to escort her to Kingsley, a town several days away. Joined by Coley, they set out the next day.
Their journey is far from pleasant. The woman is haughty, refusing to disclose her name, and their stop in the dingy town of Crosstree reveals that Coigne recently passed through.
Things take a surreal twist when Gashade realizes they are on a hunt. As they cross the desert, Coley senses someone trailing them, while the woman casually fires her gun, signaling the follower. That night, following some reckless shooting by Coley, the mysterious stranger joins them. The woman introduces him as Billy Spears (Nicholson), whom she has hired. Gashade quickly identifies him as a ruthless gunman who begins to issue threats to both Gashade and Coley.
With pressure building, the woman pushes for speed, and after exhausting her horse, she commandeers Coley’s horse, forcing Gashade to ride alongside her while leaving Coley behind. As Gashade’s horse falters, he must choose between his simple friend and the woman’s demands. Soon after, Spears reveals he was responsible for Drum’s death.
Eventually, all their horses perish from dehydration. As Spears weakens, Gashade seizes the moment to confront him; they grapple, and Gashade knocks him out, crushing his gun hand along the way.
Gashade then trails the woman, who is pursuing someone up a hillside—it is Coigne, his twin brother. The woman shoots and kills Coigne, collapsing afterward while Gashade whispers his brother’s name. In the background, Spears, injured and destitute, aimlessly wanders the desert.
