Silverado was one of the last Westerns I saw that took seriously
the fact that 19th century America
was full of immigrants. I say
seriously even though in that case it was the inclusion of John Cleese’ terribly English sheriff that
made the point. Slow West is set shortly after the end of the Civil War and has
more immigrants, ranging from French speaking Africans to Irish Silas (Michael
Fassbender) and Jay (Kodi Smit-McPhee),
a teenage Scots aristocrat in pursuit of his love, Rosy, (Caren Pistorious)
who has fled with her father, both wanted for involvement in the death of
Jay’s father. Jay is
equipped for his trek towards Colorado with nothing but determination and
inappropriate baggage (I mean stuff in bags). He is
picked up by Silas, a gunman who is not quite as competent as he thinks, who
becomes his guide. But Silas has
baggage too (of the other kind) and a
hidden agenda. Payne (Ben Mendelsohn),
a flamboyant bounty hunter, is part of
that baggage.
The country through
which they ride is actually New Zealand, but the Irish cinematographer Robbie
Ryan films it beautifully. I last saw
his work in Philumena. I try to never forget that movies are all
photographed, and the eye and brain behind the camera is crucial.
Fassbender co-produced this movie, written
and directed by John MacClean, and I can see why. MacClean studied Art in Edinburgh and London
before forming The Beta Band and then The Aliens and directing a number of
their videos. In 2009 he made a short
movie with Fassbender, Man On A Motorcycle, shot on a mobile
phone, and then won a Bafta for another short, Pitch Black Heist, in 2011.
Here MacClean has taken a look at the familiar Western genre and despite
the authentic and random violence that punctuates the movie it is a rather thoughtful
and gentle look. For sure this is a
hard place to be and survival is tenuous for young immigrant families trekking West, for American Natives
hunted by white gunmen, for anyone with
a price on their heads and for an innocent teenager with few survival skills. But humanity surfaces in unexpected places. Jay’s heartful intention drives the
plot, and cynical Silas slowly responds
the foolish, but brave and intelligent, young man.
Smit-McPhee made the most of his roles in
Let Me In and The Road, and pairs well
here with Fassbender. They shot the
film more or less in sequence, and you can see the two actors coming to terms
with each other just as their characters do. I do not remember the music, and that is a compliment. Too many soundtracks intrude. I recommend Slow West.
