About three weeks ago I watched The Social Network. I have to watch it again soon because the first experience came as a surprise. It did nothing for me.
20 movies: Tombstone (1993)
I can think of no better place to start my list of twenty movies than with one of my favourite kinds of movies, the western, and specifically one of my favourite westerns, Tombstone from 1993. If you want something to watch this summer, try this one.
While there are many aspects to the movie that are excellent, the one that truly stands out is Val Kilmer’s portrayal of Doc Holliday. If you have never seen the movie, or if you haven’t seen it in a few years, it’s time to watch one of the great performances. In some ways, Tombstone is a variation of The Man Who Shot Liberty Valance and Kilmer’s Holliday is a new take on John Wayne’s Tom Doniphon.
Here’s my review of the movie that I wrote a few years ago:
directed by George P. Cosmatos
This movie frustrates me because I don’t know what to write. It’s one of the best westerns I’ve ever seen and, to be truthful, that’s really all I have to say about it.
Of course, I love westerns. But I’m not sure why. I think it’s because of the simplicity of the stories and the fact that they are, essentially, all mythical.
I suppose you could say this about all movies but westerns, in particular, access mythic elements and use them to engage us. They really are the same damn story played over and over again.
The best westerns do this; the least successful ones try to play with the genre.
Having said that, I think director George P. Cosmatos and writer Kevin Jarre do play with the genre just a tad … but they rigidly adhere to the essential elements. For example, one of the staples of westerns is the opening when the bad guys come in and do something really, really bad. I can’t think of a single Clint Eastwood western that doesn’t do this. What this does is immediately set the context of the movie – a wild and lawless landscape that is crying out for order.
The next step is to introduce us to the good guy (or guys) who are reluctantly drawn in and eventually save the day.
Simple stuff, and exactly what Tombstone does.
But within this simple framework, Cosmatos and Jarre do much more. Chiefly, they give us characters with much greater delineation and far more contradictions that the average B western.
In particular, we get the incredible performance of Val Kilmer as Doc Holliday. It’s not the usual Doc Holliday; this one is true to history and, within that, Kilmer gives us perfect and unexpected nuances.
And while the Doc Holliday character may be the one we walk away remembering best, Kurt Russell’s Wyatt Earp is equally masterful. He’s less interesting only because his character is the good guy. But he has his own contradictions and, more importantly, it’s the apparent paradox of his relationship with Doc Holliday around which the movie revolves and succeeds.
There are, of course, a few minor problems with the film, as with all movies. For example, there is the scene when Bill Paxton as the youngest Earp, Morgan, is shot and Kurt Russell is with him. Russell’s hands and arms are covered in blood. He runs his hands over Paxton’s forehead – he seems to touch just about everyone in the place, including himself – yet no blood rubs off on anyone. Huh? How’d that happen?
But it’s a quibble. The movie is pure western, from setting to music to story. It also avoids that sepia nonsense so many westerns have. Rather, they have shot this movie to show the colour of the mythic west and it’s a tremendous relief to see a western with this much confidence in itself as a western.
Tombstone (the trailer)