Appaloosa

Ed Harris takes the directorial reigns for the second time in Appaloosa, where "feelings get you killed." Within, Harris plays lawperson Virgil Cole, who, along with trusty right-hand-man Everett Hitch (Viggo Mortensen), agrees to administer Appaloosa's justice; after the town transfers all of their power and authority over to him. His presence is required for Randall Bragg (Jeremy Irons) has murdered Marshall Jack Bell (Bobby Jauregui) and his reckless goons are doing as they please with the town's commodities and food supply. Piano playing hostess Allison French (Renée Zellweger) steps off the train with one goal in mind: find the top dog and play fetch, which eventually leads to her kidnapping, a circumstance upon which she forthrightly capitalizes.

Hitch and Cole!

Appalossa's basically, yet, another, silly western, with plenty of battles and blood, corruption and collusion, etcetera. The relationship between Hitch and Cole saves the picture and if you find their stoic allegiance endearing, you'll enjoy the film. Cole is tough as nails, making his living with his gun, never backing down, always, vigilant. As is Hitch but Hitch needs Cole in the political forefront, talking the talk, as much as Cole needs Hitch in the background, helping him walk the walk. When a local member of the town council (Phil Olson played by Timothy Spall from the Harry Potter films [Peter Pettigrew]) explains to Hitch that his organization is worried about Cole's erratic behaviour, Hitch quickly shoots back, reminding him that people representing law and order by-any-means-necessary are on occasion not the most rational of individuals, because they must be ready to confront dangerous situations every second of every day, constantly dueling with reason's dastardly dark-side. When Cole becomes upset regarding French's infidelities, Hitch wisely explains that some women simply like being with important men and he should do his best to accept that, and use that acceptance to placate his expectations. But when her ambition seeks the company of reformed and pardoned Randall Bragg, glad handing dandy (Lynch and Frost, Twin Peaks Pilot), Hitch turns in his badge and prepares for High Afternoon.

The dialogue is very Westerny, but screenplay writers Robert Knott and Harris work in an amusing motif wherein Cole tries his best to improve both his langue and parole. The conversations between Cole and Hitch are full of laconic down-home pastoral charm, and will likely (occasionally) win over even the most hardened urban intellectual. And there's a great shootout where both Cole and Hitch take plenty of licks while providing their adversaries with one or two of their own. (Structurally, after Cole is wounded, he returns to Appaloosa only to find the town has changed, advancing at a pace that his new knee brace may not allow him to administer, reminding one of pesky Jake Gittes in Chinatown). Jeremy Irons struggles with the role (the ruthless yet polite and well-read British villain), although, his awkward presence fits Harris's offbeat styling, and does grow more homely as the film strides t'wards its horizon.

One thing to keep in mind when viewing Appaloosa is that Harris is an actor's director, and when such directors employ even a slight degree of competency (Clint Eastwood being one of the best), they can bring out the best from their cast (although Harris really should have taken a couple more takes for the opening scene).

Appaloosa's not the greatest film, but it's entertaining and thoughtful, addressing traditional western tropes in a playful albeit maniacal fashion. While not as quaintly kitschy as The Outlaw Josey Whales, or as rivetingly raunchy as Hud, Appaloosa still reigns in a wildly independent wherewithal, preventing the sun from setting on a weary, weathered coincidence.

[Note: on the political level, Cole is the leader of the Cole and Hitch duo. However, as mentioned previously, Cole cannot lead without Hitch's support, in the same way that political figureheads cannot function without competent bureaucrats writing, implementing, and interpreting their policies/etc. We find Hitch's bureaucratic prominence within the Cole/Hitch duo (his position as unsung hero) represented by the phonetics of their names, insofar as Hitch and Cole flows much more smoothly than Cole and Hitch].