A revelation. A harsh, yet engaging and moving story, shot in equally hard yet beautiful style by Tommy Lee Jones and cinematographer Rodrigo Prieto. Swank is outstanding and praise for the score is deserved. If it is a "western" then, outside The Assassination of Jesse James, it's arguably the best one that's been made since Unforgiven. One of the top films of the 2010s that I've seen. Highly recommended.
Trotz des Titels ist The Homesman ein Film über Frauen. Frauen stehen im Zentrum der Action, trieben sie voran. Sie sind nicht die schönen passiven Begleiterinnen wie in anderen Western, sondern Heldinnen: Charakterstark und mutig, manchmal beides im selben Moment!(...) mehr auf cinegeek.de http://cinegeek.de/homesman-rating-78-dvd8497
The laws of nature are indeed mean but this is not the only way they might have been. 'The Homesman' is conflicting world views attempting to steer their way into the path of history. It is a shame then that the meanest, drunkest individuals are most successful at getting their way.
It possesses a stern elegiac grace that moves the viewer in the way of the best modern westerns, such as Unforgiven and Jesse James. A milestone in the limited sub-genre of feminine westerns; the broken strength of Mary B. Cuddy and the plight of the mentally unraveled ones rightfully prevent the gruff foolishness of Jones' character from becoming the main emotional link to the viewer.
Una pequeña obra maestra, un western crepuscular en la línea de "Sin perdón" de Eastwood, con sus vueltas y revueltas, con sus momentos mágicos y desesperados (el personaje de Swank perdido en la noche, su triste desenlace), que al final da un nuevo giro, o eso parece, el destino.... Todo en esta película apunta a lo muy íntimo y personal, con dos almas muy distintas que coinciden brevemente en el tiempo.
A gorgeous and distinctly post-modern take on the classic Western story that never hides its influences. Jones' masterful adaptation leaves us with a beautiful meditation on prairie madness, responsibility, and redemption, among other things. The story is simple, but the effect is long-lasting. Camera work and soundtrack are harsh, but calm and beautiful - superb, really. One of the finest Westerns in decades.
Strong adaptation of the Glendon Swarthout novel that finds a spinster accompanying three madwomen from the prairie frontier back east on an arduous journey in the company of an aged 'homesman'. Swank and Jones are both quite spellbinding here as are the three madwomen in near silent roles (Gummer, Otto and Richter). The feminist aspects of the story are very interesting as is the concept of unasked for redemption.
Instead of "The Three Burials of Melquiades Estrada," an intoxicating review of Peckinpah's films, especially "Bring Me the Head of Alfredo Garcia", this western follows a "classic" model that sometimes approaches Eastwood's acclaimed academism and sometimes is terrible - the opening credits postcards or the music - but also can find a speech of its own and be singular. Ends with the devil dancing in Charon's boat.
I would love to sit down and have a conversation w/ Tommy Lee Jones, not something I can say of many contemporary actors-turned-director (Elaine May, of course, if she counts). He seems to know a great deal about the hard beauty of human existence for a guy who has been paid so much for so long doing serviceable work of little consequence. Some real deep insights in The Homesman concerning how we grieve (or don't).
Anti-western âpre et sensible, Tommy Lee Jones livre un beau film, surprenant et magistralement interprété notamment par lui-même. Un film bourru et nostalgique, très maitrise, qui consiste à rebrousser la piste, remonter à la réalité et en livrer son désenchantement.
A small film directed and acted by Tommy Lee Jones about the harsh realities of living on the prairies in the American Midwest. As a lone single farmer Hilary Swank volunteers to take 3 mad women back east to the sanctity of Meryl Streep's parsonage. A strange wagon quest trying to represent life in the early days with few of the usual cowboy strereotypes apart from a group of war painted Pawnee.