The Screen Addict | 𝗚𝗲𝗿𝗼𝗻𝗶𝗺𝗼: 𝗔𝗻 𝗔𝗺𝗲𝗿𝗶𝗰𝗮𝗻 𝗟𝗲𝗴𝗲𝗻𝗱 (𝟭𝟵𝟵𝟯)

I took care of a blind spot in my appreciation of Walter Hill’s filmography the other day.

I’ve always been a big fan of Hill’s work as a writer, producer and director – 𝗕𝗿𝗲𝘄𝘀𝘁𝗲𝗿’𝘀 𝗠𝗶𝗹𝗹𝗶𝗼𝗻𝘀 (𝟭𝟵𝟴𝟱), 𝗥𝗲𝗱 𝗛𝗲𝗮𝘁 (𝟭𝟵𝟴𝟴), 𝗧𝗿𝗲𝘀𝗽𝗮𝘀𝘀 (𝟭𝟵𝟵𝟮), the Alien films, to name just a few – but for some reason I had skipped over : .

Hill deserves more praise for his contributions to the Western – the one film genre that is truly, typically American. We tend to mostly focus on big names like Clint Eastwood, Sergio Leone and John Ford when discussing Westerns, but I’d argue that Hill is a key figure as well.

The multi-hyphenate made a couple of 𝘢𝘤𝘵𝘶𝘢𝘭 Westerns, like 𝗧𝗵𝗲 𝗟𝗼𝗻𝗴 𝗥𝗶𝗱𝗲𝗿𝘀 (𝟭𝟵𝟴𝟬), 𝗪𝗶𝗹𝗱 𝗕𝗶𝗹𝗹 (𝟭𝟵𝟵𝟱) and 𝗗𝗲𝗮𝗱 𝗳𝗼𝗿 𝗮 𝗗𝗼𝗹𝗹𝗮𝗿 (𝟮𝟬𝟮𝟮), directed episodes of Western-themed TV shows and series like 𝗗𝗲𝗮𝗱𝘄𝗼𝗼𝗱 and 𝗕𝗿𝗼𝗸𝗲𝗻 𝗧𝗿𝗮𝗶𝗹 (𝟮𝟬𝟬𝟲), and his other work often has a “Western-feel” to it as well.

Films like 𝗦𝗼𝘂𝘁𝗵𝗲𝗿𝗻 𝗖𝗼𝗺𝗳𝗼𝗿𝘁 (𝟭𝟵𝟴𝟭) and 𝗟𝗮𝘀𝘁 𝗠𝗮𝗻 𝗦𝘁𝗮𝗻𝗱𝗶𝗻𝗴 (𝟭𝟵𝟵𝟲) for example, might not be Westerns in the purest form, but one could be forgiven for classifying ‘em as such.

𝗚𝗲𝗿𝗼𝗻𝗶𝗺𝗼 however, very much is a traditional Western. And one with a phenomenal cast to boot.

It’s always a delight to see Gene Hackman in any genre, but somehow the Western just fits the legendary actor like a cowhide glove. Joining Hackman are the equally legendary Robert Duvall, the always dependable Jason Patric, and a very fresh-faced Matt Damon.

The true highlight of this film however, is Wes Studi, who plays the titular hero. Studi has been one of my favorite actors ever since I saw him in 𝗗𝗮𝗻𝗰𝗲𝘀 𝘄𝗶𝘁𝗵 𝗪𝗼𝗹𝘃𝗲𝘀 (𝟭𝟵𝟵𝟬). Such a great face and commanding presence.

Studi is obviously often typecast in Westerns, so I’m always happy to see him in other genres that allow him to showcase his range as an actor, like Michael Mann’s 𝗛𝗲𝗮𝘁 (𝟭𝟵𝟵𝟱). The two had of course made 𝗧𝗵𝗲 𝗟𝗮𝘀𝘁 𝗼𝗳 𝘁𝗵𝗲 𝗠𝗼𝗵𝗶𝗰𝗮𝗻𝘀 (𝟭𝟵𝟵𝟮) together a couple of years prior.

𝗚𝗲𝗿𝗼𝗻𝗶𝗺𝗼 is very much Studi’s film, though. And I can’t think of any other actor who would have been a better fit.

The screenplay for Geronimo was written by another hero of mine – John Milius. I’ve always felt that Milius doesn’t get enough recognition for the amazing stuff he wrote and unforgettable characters he created. 𝗗𝗶𝗿𝘁𝘆 𝗛𝗮𝗿𝗿𝘆 (𝟭𝟵𝟳𝟭), 𝗔𝗽𝗼𝗰𝗮𝗹𝘆𝗽𝘀𝗲 𝗡𝗼𝘄 (𝟭𝟵𝟳𝟵), 𝗖𝗼𝗻𝗮𝗻 𝘁𝗵𝗲 𝗕𝗮𝗿𝗯𝗮𝗿𝗶𝗮𝗻 (𝟭𝟵𝟴𝟮), the U.S.S. Indianapolis scene from 𝗝𝗮𝘄𝘀 (𝟭𝟵𝟳𝟱)… Just incredible.

I also love the fact that the Coen brothers – who are close with Milius – based the character of Walter in 𝗧𝗵𝗲 𝗕𝗶𝗴 𝗟𝗲𝗯𝗼𝘄𝘀𝗸𝗶 (𝟭𝟵𝟵𝟴) on their friend.

As always, I’m veering wildly off topic. But that’s what happens when you’re passionate about something.

𝗚𝗲𝗿𝗼𝗻𝗶𝗺𝗼 is an exceptionally well-made film that should have been up there with the likes of 𝗪𝗼𝗹𝘃𝗲𝘀 and 𝗠𝗼𝗵𝗶𝗰𝗮𝗻𝘀.

The same goes for Hill, by the way. When I think of great filmmakers who shaped my cinematic consciousness during The Eighties and early Nineties, Hill is certainly on that list.

And he should be on yours, too.

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