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Dead for a Dollar
The Six years between films is not usually an excessively long time for many the famous directors today why then is there such a buzz of excitement surrounding “Dead for a Dollar” the action filmmaker Walter Hill’s first film in six years. He turned 80 this year and at that age of six-year break in movies is something that worries fans. The fact that Dead for a Dollar appeared to be the first entirely pleasant Walter Hill film in more than six years is more important. The Assignment piece that came before this one was as i noted in my review at the time. A lot of the movie is more watchable than it has any right to be because Mr. Hill is still in most respects i said in my conclusion. Additionally I believed that Dead for a Dollar had a strong chance of avoiding the problems with “The Assignment” because it is a western sure enough it does, even as it purposefully enters an area that might be contentious. Widescreen shots of the beautiful and brutal American Southwest environment open “Dead.”
We next see a rider with horse and followed by another horse whose rider is clutching a parasol to protect himself from the sun. They are either his willing companion Rachel Kidd or Elijah Jones an army deserter depending on who is narrating the story. Christoph Waltz plays Max Borlund a bounty hunter who will soon be hired to find this pair. Prior to it we learn that he had a score to settle with Joe Cribbens a bank robber and gambler who was sentenced to five years in jail as a result of Max. The day before Joe is scheduled to be released from his filthy cell Max visits him and warns him to keep away from him because Joe will not pay whatever debt he thinks Max is owing. We know they have to run into each other again.
The tradition will undoubtedly be followed in this movie which was written by Hill and Matt Harris. This is accurate even though it gives the situation fresh interesting details. In the same way that Rachel Kidd (Rachel Brosnahan) is white and Elijah Jones (Brandon Scott) is a Black man. Jones’ commander and Rachel’s affluent husband are both rightfully incensed Hamish Linklater. They claim that Jones abducted Rachel and is now seeking $10,000 in exchange for her release.
Only partially true the real story is that Rachel an abusive wife and Jones have fled together and are looking for money to finish their escape possibly to Cuba. Max initially just truly understands that he will receive $2,000 to finish their tax return. The Army loans Max a sniper named Poe (Warren Burke) a friend of Jones who is also Black to help with this goal.
Although the racial dynamics in the film which also includes the Mexicans Max and Poe will work with and compete with once they cross the border are not overtly emphasised they are highlighted just enough to give some helpful tension. The fact that Hill dedicates this film to the legendary Western filmmaker Budd Boetticher reveals how he and Waltz conceived of Max Borlund. Randolph Scott a mainstay of the Boetticher cast may have portrayed the character of Borlund is unwaveringly honest while yet being pragmatist. He enjoys having money but when the going gets tough he’s picky about who he takes it from. Borlund starts to doubt his allegiances as he learns more about Rachel’s serpent husband and that Elijah and Rachel are merely trying to obtain their independence, which the world has denied them. The ruthless Mexican land lord Tiberio Benjamin Bratt who will among other things arrange for Joe Cribbens is adding to his anxieties.
The action finale of this story which is certain to result in numerous simultaneous showdowns is masterfully staged by Hill it is exciting, startling and never dips into formal trickery or narrative cheapness to give the spectator what it wants and deserves. Sadly Hill’s controlled terse approach doesn’t serve him as well in the lead up to this as it did in masterpieces like The Driver and “The Long Riders to name just a couple. While Dafoe takes up his role with zest and Burke and Brosnahan in especially seem to be finding their footing in certain early sequences Waltz is fantastic as Max and it must have been a delight for Waltz who also executive produced, to play a guy who is simply a hero no tics or perversions required. These characteristics are what set instant masterpieces apart from immediately enjoyable entertainments. And I’ll concede that Dead for a Dollar might look better in a few years than it does right now. Additionally it appeared better than decent today.
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