The Hired Hand (1971)

best movie i've ever seen.

It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Exactly the movie you think it is, but not the movie you want it to be.

Peter Fonda's career in westerns was about tearing down everything that his father, Henry Fonda, ever stood for. Where Henry Fonda was a top gun in most westerns, Peter Fonda is more like a sad and thoughtful loser. Where Henry Fonda always had women lusting after him in the westerns, Peter Fonda's movie wife, Verna Bloom, does not want much to do with him. While traditional western women are faithful to their men, Bloom is open about screwing all of the men she hires to help at the ranch, because her husband was away, and she needed sex. This movie throws a lot of darts at the westerns that Henry Fonda made. In many ways, it is an anti-western, and anti-Henry Fonda. As a movie, while the photography is beautiful, the actual story is very lame and boring. Peter Fonda loves to have close-ups of his face. It is like he is in love with himself. There is not much story here. One day Peter Fonda decides to go home to see what happened to his wife after seven years of abandonment. Warren Oates, his best friend, tags along. That is the whole movie. The end of the movie was badly choreographed and features a sub-par shootout that once again contrasts the difference between the great Henry Fonda, and his pathetic stoner son, Peter Fonda. It literally ends with a thud, and everything positive that was building up gets let down. It is truly the anti-Christ of a Henry Fonda Western movie.

The Hired Hand is a New Hollywood masterpiece from Peter Fonda, a reflective Western in which redemption comes not through revenge, but romance, in all its selfish, selfless glory. Its title comes from the stone of story at its centre, in which Fonda tries to atone for walking out on his wife (Verna Bloom, shorn of all vanity) by signing on as her hired hand, accompanied by his friend Warren Oates. That set-up suggests gender battles or sexual power-games, but what we get is something altogether quieter, subtler and more persuasive: a story about forgiveness, dependence and the healing of wounds, with an almighty kick in the tail that takes genre mythology and proceeds to do something unforgettable with it. The relationship between the reformed, gentle Fonda and his strong, unrepentant wife only accounts for perhaps a third of the running time, but gives the film such heart that it can justify the numerous asides and self-contained vignettes: a fatal shot from out of nowhere, an early-morning mission of vengeance and the shattering of a tranquil idyll as a young girl's dead body snags on a fishing line.Fonda's Easy Rider is a great film, because it captures a feeling, epitomises an entire period and exploded an outmoded cinematic status quo, but it isn't a very good film. It's tacky, juvenile, boring and full of ridiculous visual quirks that make no narrative sense (there's a reason why no-one uses those juddering transitions it attempted to initiate, and it's that they're pointless and crap). The Hired Hand, however, is a film touched with that refined, adventurous brilliance that seemed to be in the air in '70s Hollywood. It's visually outstanding, but it's more than that: it's like Monte Walsh - William Fraker's film about the "last cowboy" - but loaded with longing and sexual angst, and equipped with some trippily avant garde imagery that still stays true to the genre, Fonda, photographer Vilmos Zsigmond and editor Frank Mazzola simply kicking Winton C Hoch's eye-popping compositions up a notch. The most remarkable has Fonda and Oates talking by a corral. As they turn gradually to silhouettes, close-ups of their faces illuminate the sky behind, tinted by the setting sun. It's a jaw-dropping trick that pitches them as Western icons, larger-than-life, greater than contemporary folk heroes and at one with the sprawling plains and vast skies that are - or were - America. Fonda isn't interested in a conventional narrative, more in evoking an atmosphere, and as he slips from one episode to the next, he layers one piece of footage - a body twisting in a river, horses stalking along the trail - over the next. It's odd, then, that some of the interior scenes in the early part of the film look flat and cheap, if not '50s-B-Western shoddy.Fonda is superb, while Bloom, one of the best things about Eastwood's High Plains Drifter, gives a remarkable performance as a woman who refuses to repent after looking for sexual solace in his absence, but yearns to be loved - and not just wanted. It's only during her pivotal speech that I feel she falters, but perhaps subsequent viewings will be kinder. And Oates? Well, Oates is simply sensational. Perhaps only Jason Robards ever combined the scuzzy, the world-weary and the roguishly appealing as well as the toothy, grubby, bearded Oates, and as a good guy fighting the lust coursing through his body, he damn well walks away with the film. The Hired Hand is one of the great movies of the '70s: a unique, unsentimental vision that doesn't seek to dismantle the Western, as Altman would with McCabe and Mrs Miller, but to take its iconography and its stock characters somewhere new. The gunfighter still rides to the rescue. The showdown still happens. And his body still falls to the floor with that same sickening thud. But then a hired hand returns to a homestead and closes a door, and we realise that there was never a Western like it, and that none ever gave us an ending like this, in all its simple, beautiful and perfect ambiguity.

This downbeat, salt-of-the-earth western drama is a meditation on forgiveness and the meaning of friendship, as well as a great showcase for Fonda (who makes his directorial debut), Warren Oates, Verna Bloom, and Vilmos Zsigmond, whose impressive cinematography is almost the fourth star of the movie.Fonda's character is an interesting one. His inability to express himself forces the viewer to learn about his character almost solely through his reactions to the people around him.One complaint though, is that I wish that the character's relationship with his daughter was fleshed out a bit more. As it stand, their interaction was a little superficial. There should have been a scene where he really tries to talk to her.Warren Oates was an excellent actor and always a joy to watch, especially in a western picture. For another western in the same art-house vein, I'd also recommend 1967's The Shooting, where Oates stars alongside Fonda's old pal Jack Nicholson.

THE PLOT: A cowboy (Fonda) decides to go back and work for the wife that he left several years before.THE POSITIVE: The cinematography and camera work is outstanding as well as the editing. There are a few angles and shots here that I haven't seen done anywhere else. The soundtrack is also excellent and helps create a real nice moody feel to a presentation that has a very good gritty and realistic look. The shootouts and especially the death scenes stand out the most and raise this up a few notches from the standard western. Verna Bloom is a great choice for the hard living and vanquished wife. Her plain face and weathered complexion looks like something one would realistically find in that environment and time period.THE NEGATIVE: The impressive camera work and elaborate presentation belie the fact that the story really isn't much. The plot is very thin and filled with a lot of elements that you can find in any western. The characters needed to be fleshed out a lot more and the pace is too leisurely. It is great to see eccentric character actor Severn Darden cast as the bad guy, but he needed to be given a lot more screen time.THE LOWDOWN: The production as a whole is excellent with a nice evocative style that draws you in and really holds your attention. Unfortunately the story is too routine and not profound enough to allow the movie to stand out anymore than it does.THE RATING: 6 out of 10.