The Lone Ranger and Tonto ride again, and it's a beautiful mess
I will admit up front that I absolutely love Westerns. As a kid, I used to watch Shane from time to time and I always thought highly of it, even though in those days I wished it had more action. The movie that really got me started on oaters though was The Cowboys, an old John Wayne classic that has sadly been largely forgotten. I became a Western junky after watching that movie, and I still haven't entirely let it go.
I wasn't planning on seeing The Lone Ranger for several reasons. For one, I have zero familiarity with the original show or characters; they meant nothing to me, despite my fondness for Westerns, and all I knew was that they had a slight whiff of '50s cheesiness about them. Also, the trailer for this movie was genuinely awful. It looked like a heavy handed, joyless train wreck (literally - lots of crashing trains in this movie).
Fortunately, I am lucky enough to be romantically involved with an exceptionally intelligent, interesting and beautiful young woman whose movie tastes overlap with my own but occasionally differ. This means that I end up seeing movies I would resist watching if left to my own devices. Last night, the young lady dragged yours truly to The Lone Ranger, and I am glad I saw it.
For starters, let me admit that this movie is a mess. A huge, huge mess in fact. Clocking in at 149 minutes and filmed partially in Monument Valley, one of the most breathtaking locations in which a movie can be shot, this is a movie that goes big. Very big. The budget seems to have been somewhere in the neighborhood of $250 million; I'm not surprised. You can see they spent a lot of money making this picture, and spent it well. It's a beautiful movie.
But the plot is a mess, there are way, way too many themes and motifs crammed in, and there are long segments where the movie seems to wander aimlessly. Johnny Depp is great as the freakazoid Tonto, and Armie Hammer is solid as The Lone Ranger. The supporting cast is excellent, too: Tom Wilkinson shows up to play his usual slimy villain, William Fichtner is nearly unrecognizably creepy (and let's face it, dude's already creepy as hell on a good day) as a cannibalistically-inclined villain, Helena Bonham Carter shows up as the madame of a brothel, and look, there's Stephen Root sporting muttonchops.
The movie references a lot of different Westerns. It most directly parallels the great Once Upon a Time in the West, while other plot threads pay homage to The Searchers (which made better use of Monument Valley than any movie ever has), the 1939 Jesse James flick that starred Tyrone Power and Henry Fonda, and also pretty much every movie that ever involved Kevin Costner and a horse and a gun.
It's a shame that this movie has flopped so badly. It's not great, but it's fun and worth seeing, and it's too bad that it was dead on arrival. This pretty much means that the Western is now in permanent residence at Boot Hill, which is a shame. Westerns are part of our founding American mythology, and this is a Western that actually dares to subvert that mythology and raise uncomfortable questions about race and genocide. It seems a sad truism though that the cowboy has gone the way of the dodo, replaced first by GI grunts in WWII flicks and then by superheroes and now by various characters fighting the never-ending supply of zombies at the movies.
Still, the spirit of the West lives on. People talk about Die Hard contributing genetic material to pretty much every action movie made since its release. People forget that John McClane was an evolution of an earlier prototype: John Wayne. The times change and our heroes have gone from morally resolute and indomitable to troubled and flawed, but every time a hero or anti-hero takes a stand against great odds and refuses to give up, the ghosts of cowboys past ride again. Hi-ho, Silver, and away!