"The Lady" rides into the Old West town of Redemption circa 1878. In an attempt to seek vengeance for her father’s death, she enters a single elimination gunfighting contest presided over by Redemption’s ruthless leader, John Herod.One of the first men The Lady meets is Cort, a former Herod henchman turned reverend. Herod forces him to enter the quick-draw contest.The Lady also begins a relationship with The Kid, an arrogant young gunslinger who hopes to impress his biological father, Herod. Through donations by Herod and Wells Fargo, the winner of the contest will receive $123,000 in cash.As Cort is persecuted for abandoning his violent past in favor of a peaceful religious life, the first and second rounds of the competition ensue. The Lady and Cort soon understand that Herod’s main goal in the contest is to eliminate anyone who might pose a threat to him.Haunted by childhood traumas, The Lady reflects on how as a young girl, Herod manipulated her into killing her father, the town’s former marshal.Each showdown takes place in the street, with contestants unable to draw until the town’s giant clock strikes twelve. An exception occurs when The Lady angrily shoots it out with a man called Dred after her discovery that he has raped a young girl.One by one, gunfighters are eliminated until The Lady, Cort, Herod and The Kid are left as the four remaining contestants.The Kid challenges his father to a duel to the death in a final attempt to win his respect. Although he does suffer a minor bullet wound, John Herod ultimately wins, killing The Kid and then questioning the notion that he even was his son.Herod sees to it that The Lady and Cort are forced to face each other. He will have both killed if they refuse to shoot it out. Something has to give, and indeed The Lady is shot and killed. Doc Wallace declares her dead and takes her body to be buried.Herod has just one man now left to defeat. He squares off with Cort in the street for their showdown. But to his shock, at the stroke of twelve, the clock tower explodes.When the dust settles, The Lady rides back into town. She and Cort have conspired to fake her death, with help from Doc, who knew her dad.Her return has clearly unnerved Herod and silenced his usual boasts. The Lady shoots it out with him and sends Herod to his grave.Cort becomes the town’s new marshal as The Lady rides off into the sunset.
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The Quick and the Dead comments / review
Date: 2010-01-03 16:21:20
User: PostFilm
There is, regrettably, precious little that is quick about Sam Raimi's newest film. It drags on interminably, laying out ritualized gunfight after ritualized gunfight, while fragments of the wholly predictable backstory waft about like so much acrid gun smoke. Raimi, the rightfully celebrated director of the Evil Dead trilogy, has hit a snag here; he seems lost without former leading man Bruce Campbell to show him the way. Much of the blame with The Quick and the Dead (kudos to Raimi for slipping the word “dead” into yet another of his films, though) lies with Simon Moore's patchwork script, which manages to cobble together as many western clichés as possible, and then throws in a female protagonist to give the whole mess a Nineties spin. Stone is Ellen, a mysterious gunfighter who rides into the town of Redemption one day spoiling for a fight. The town is presided over by Hackman's Herod, an evil ex-outlaw who's built this less-than-shining pillar of community in the midst of the badlands. It's the eve of the Herod's annual free-for-all, round-robin gunfight in which anyone can challenge anyone to a fight to the death -- Herod's cunning way of weeding out his enemies. Here Ellen meets Cort (Crowe), a killer-turned-man-of-God who used to ride with Herod's gang and is being held captive in Redemption while awaiting his turn to die. Ellen, for her part, has a grudge against the irascible Herod but she seems to have trouble killing the guy; she gets her chance not once, not twice, but three separate times and fumbles them all. Of course, it's obvious to anyone who's ever enjoyed western films why she wants the man dead (the final flashback scene is stolen nearly in toto from Sergio Leone's Once Upon a Time in the West). Raimi does his best to rise above the conventions of the script, filling the gunfight scenes with gobs of style that may have worked just fine in his Dead films, but look simply ludicrous here: wild angles, rapid cutting, and skewed camerawork do not tension make. Toward the end of the film, Raimi tosses in a few effects cribbed from Robert Zemeckis' Death Becomes Her and one straight out of John Woo's Hard-Boiled, but even these gory crowd-pleasers seem more like acts of directorial desperation than anything else. Hackman is pleasantly unctuous, but the role is too much like his character in Unforgiven, while Stone alternately mumbles and caterwauls her way through the film. It's a mess, and one that even the pickled cowboys behind me found yawningly tedious, and that's not something I ever thought I'd be saying about a Sam Raimi movie with the word “dead” in the title.
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