Review of ‘1883’ – The Hollywood Reporter


So like I said when I reviewed the Taylor Sheridan movie Mayor of Kingstown last month the Yellowstone the creator does bombastic, macho flashbacks, shows your uncle or dad might celebrate because “they don’t do them like that anymore.” To be more precise, however, Sheridan makes shows (and movies) that are classic westerns without necessarily being westerns. Yellowstone, or features such as Sicario Where Against all odds, have the geography and character archetypes of a western, brought back to the present for a slight revisionist twist. Even something that doesn’t clearly fit the genre, like Mayor of Kingstown, finds Sheridan exploring questions of justice – inevitably a sort of border justice that remains intact even as the protagonists drive cars instead of cattle and wield cell phones instead of a Winchester.

If there is anything notable about 1883, Sheridan’s latest Paramount + drama, it’s not that it’s a Yellowstone prequel; Apart from several characters sharing the last name “Dutton”, the connections are of the Easter egg variety. It’s because the series is actually a simple period western and not even of the revisionist variety. The pilot begins with a group of ultra-generic Native Americans brutally attacking a convoy of wagons, a media scene so filled with stereotypes that I pray an unforeseen twist is revealed before the main story catches up. The rest of the series is made up of lots of dragging cowboys, skillfully adjusted Stetson, and talks about dangerous mobs with guns. Sheridan’s thesis can be quickly summed up as “Man, the old west was rough,” which is sure to become a revelation to anyone who hasn’t seen a Clint Eastwood movie, Dead wood or played Oregon Trail.

1883

The bottom line

Cliché genres, mumbles and mundane voiceovers obscure the potential.

The pilot begins with the arrival of the Dutton family at Fort. Worth, Texas. James (Tim McGraw) arrives by wagon after shooting a gang of outlaws to prove his tenacity to the public, along with the rest of the clan – wife Margaret (Faith Hill), daughter Elsa (Isabel May) and son John ( Audie Rick), plus dyspeptic sister Claire (Dawn Olivieri) and brooding daughter Mary (Emma Malouff) – who follow by train. Their plan is to head north, over unstable land, and engage in herding. James’ ease with a gun catches the attention of Shea (Sam Elliott) and Thomas (LaMonica Garrett), salty veterans who hope the Duttons will help them lead a gang of German immigrants with survival skills. negligible, at least part of the way to Oregon.

There is no clear reason why the central family has to be the Dutton. Sheridan does not bow to the established audience of Yellowstone for example starting the show with Kevin Costner sitting with a yellowed photo album and saying, “You’re probably wondering how I got here…” It’s a useless Trojan horse. To Costner Yellowstone Has the character ever mentioned that a relative was a bad author?

Because that’s the other Trojan horse here. For all the biggest names and veterans of the genre on screen, 1883 is actually Elsa’s story. Somewhat. Sort of. Elsa provides 1883 with a voiceover and with his perspective as a curious stranger, that of a brave and resourceful teenager letting himself be drawn into Manifest Destiny, with threats of rape and death at every turn.

The Double Flaw: First of all, Elsa’s voiceover is horribly crushed and unremarkable without any real clarification as to whether Sheridan thinks he wrote something deep or that he thinks that’s the way. which teenage girls wrote in their diaries in 1883 or what. This flaw is magnified because Sheridan mistakenly confused giving a character an internal monologue with offering that character’s perspective. Elsa’s worldview begins and ends with “dragging wonder” and tells an adventure that largely doesn’t involve her.

Segments of Elsa’s series – though plagued by Sheridan’s tendency to build drama around women exclusively by putting them in physical danger and to reinforce respect for women exclusively by making characters appreciate their manly attributes – are not bad. May, like Hill, has an anachronistically modern style and affect, but as a mother-daughter they at least match. They are less disturbing characters to explore than James, because it is doubtful. 1883 is going to have a good explanation for putting a former Confederate officer front and center – not that a state rights conference would be out of place amid Sheridan’s libertarianism.

A show about a teenage girl facing the barbarism of the burgeoning American landscape might be a good thing. It would essentially be an R-rated Little house in the meadow and I would probably like more involvement from female screenwriters and directors, but what’s wrong? Instead, Sheridan wants us to think Elsa is the center of the story, but she continues to get lost in the mumbled conversations and inconsistent accents between various gruff men. Say this for Sheridan: I’m not sure I’ve ever seen a writer, especially one prone to flowery turns of phrase, so indifferent to whether or not the audience will be able to understand his dialogue.

The only character of 1883 who is still understandable is Shea and I cannot stress enough how undeserved credibility the series derives from Elliott’s performance. He’s the rare actor who is just as convincing when he doesn’t say a word – when Sheridan and cinematographer Ben Richardson can just trace the experience through his craggy face – as when he shouts in that voice. hoarse that we trust to tell us what meat is for dinner or what The Dude did. Shea is a heartbroken man who just wants to see the great outdoors one last time before he goes to meet his maker, and Elliott is a simmering, screaming, sobbing delight at times. Garrett didn’t have as much to do, but there is an odd couple energy to these two characters who could support their own show and are usurped by the marble-mouthed crowds as well.

Some of the actors hidden in the crowd are strangely recognizable, or at least their names are. The second episode features already spoiled cameos from a pair of Oscar winners and it would be easy to half-watch it and miss them both – and even easier to notice both and not know what quality. was added thanks to their presence. The first of the actors, appearing for less than two minutes and delivering just three lines (one in duplicate), adds so little that one would think Sheridan was defying the notoriously idiotic Emmy voters when it comes to guest actor categories. , to throw a nomination on a beloved A-lister based on stature alone.

The first two episodes are a bad attempt to make Dead wood-revisionism style and the third is a bland attempt to make a simple western, removing some of the deadwood – forgive me – from the whole and adding just a little bit of romance and very limited comedy to dark nihilism. Sheridan’s target audience will likely already be invested long before that date, and those with an initially occasional interest will have already checked out.


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