THE HOMESMAN – The Review

As that classic media intro says, “return with us now to those thrilling days of yesteryear”, for this new release is set in the old West. This was a classic backdrop for so many films, going back over one hundred years to THE GREAT TRAIN ROBBERY, but the Western has become a rarity in the last decade or so. Recent attempts at big budget revivals like COWBOYS & ALIENS and last Summer’s reboot of THE LONE RANGER were box office sinkholes. But happily, more modestly budgeted independent films have taken up the reins. One of the stars that seems quite at ease on horseback is Oscar-winner Tommy Lee Jones, so it was no great surprise that his feature film directing debut nine years ago was a modern-day Western, THE THREE BURIALS OF MELQUIADES ESTRADA. For his film making return Jones has gone back, nearly a century and a half, to those pioneering post-Civil War days for an interesting dramatic spin on the old stagecoach saga, for it’s not headed in the usual direction. Hop aboard, for this journey is guided behind the camera and in front by Mr. Jones as THE HOMESMAN.

The Nebraska territory of the late 1800’s was a hard land. One of the few to prosper is the single, independent settler Mary Bee Cuddy (Hilary Swank). After a hard day of working the soil, she prepares a meal for a local single gentleman, Bob Giffen. Mary is unfortunately rejected by him (he’s headed East for a bride). The next day, the town’s pastor, Reverend Dowd (John Lithgow) informs her of a meeting of town leaders at the church. It seems that three wives (Miranda Otto, Sonja Richter, and Grace Gummer) have suffered mental breakdowns, due in part to the hardships of frontier life. Since the town has no facilities to treat them, they must be taken back via a special stagecoach East to Iowa. None of the husbands volunteer to make the trek, so matches are drawn to choose a driver/caretaker (Mary subs for Bob). Of course, she draws the longest. Although Cuddy has grit and determination to spare, she’s unsure of the task. And then she rescues a shady drifter, George Briggs (Jones) from a lynching. Mary has her helper, her ‘homesman’. Together they embark on the long journey, facing the harsh elements and hostile travelers, while caring for the three confused, disturbed women.

Two-time Oscar winner Swank adds another unique film role to her impressive resume. She imbues Cuddy with a confident, calm determination and steely intelligence. The “homes-woman” yearns for companionship while striving to make her own way in this new land. Jones brings his rascally charm to the grizzled, growling Briggs, who’s similar to classic film Western characters played by Lee Marvin or Jason Robards. His indebtedness to Cuddy soon turns to admiration and respect despite their clashes giving the story an AFRICAN QUEEN vibe. Lithgow’s a delightful con man hiding behind the pulpit. Otto, Richter, and Gummer as the three passengers are pathetic and dangerous in their unpredictable behaviors. Tim Blake Nelson is memorable as a fellow traveler. James Spader is his usual engaging self as a slick developer, and Meryl Streep dazzles once more in a pivotal last act cameo. The film boasts an exceptional ensemble, no doubt eager to work with the director/acting icon.

Jones directs at an assured steady pace, drawing us in as he intercuts the horrific back story of the three wives along with Cuddy’s hard single life. These segments have a haunted, nightmarish feel as we watch the trio’s rapid descent into madness, which makes the first few minutes a mystery that leads to the unusual idea of flipping the old Greely quote “Go West, young man”. The splendid cinematography by Rodrigon Prieto makes the locations seem almost alien, going from idyllic plains to inhospitable Hellscapes. The dialogue in the screenplay that Jones, along with Kieran Fitzgerald and Wesley A. Oliver adapted from Glendon Swarthout’s novel, has a natural feel and avoids any period mannerisms. But the film’s main problems do come from that screenplay. A major incident in the film’s final third completely changes the dynamics as a character does a shocking, inexplicable 360 degree turn which sets off a much congested finale’. Far too many characters and incidents (including Hailee Steinfeld of the recent TRUE GRIT remake) have the story hurtling toward an unresolved conclusion with many questions unanswered. Despite the final act’s overstuffed nature, Jones proves to be a most skilled director who enlists another compelling performance from Ms. Swank and …himself.

3.5 Out of 5

 THE HOMESMAN opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Theatres