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.
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.