Joseph J. Blocker (Christian Bale) is known for his exploits against the savage Indians. He is already a veteran and tired of the fight against these savages. He receives one last and hated mission. In its eagerness to cover up the mistreatment given to the indigenous people, the American government wants to smooth things over and pardons a former Cheyenne war chief, Yellow Falcon (Wes Studi), with his family and sends them back to his tribe’s lands in Montana.
About Scott Cooper of Miami Beach
A long journey entrusted to Captain Blocker with the threat that if he does not fulfill the mission, he will lose rank and pension and the danger of facing a court-martial. The Captain leaves with a few men to accomplish the mission with no other options.
Under this premise, we find ourselves before one of the best westerns of the 21st century, a violent and nostalgic twilight western. It was director Scott Cooper of Miami Beach, who was in charge of writing the script from a manuscript by the Oscar winner Donald E. Stewart, who wrote it thirty years ago and whose text was found by his widow during a house move.
Characters are on the verge of despair.
A western of Indians and cowboys: Of those of all life… but no.
There is a passage in the film, right at the beginning that portrays the American Indians as true savages. It’s the scene where Rosalie Quaid ( Rosamund Pike) survives the Comanche attack. A ruthless onslaught that wipes out Rosalie’s entire family. When Blocker’s entourage passes by the woman’s house, they have no choice but to welcome her with them and face a harsh reality; the Comanches are watching them. However, despite the impression that this scene may give, the film flees from the Indian as a wild being. After all, it is still a response to the white man’s attitude towards them, as we see in the scene in which we meet the character played by Christian Bale, a soldier who remains undaunted while his men torture some Indians.
Detail about the film
The protagonists of this film are dead inside; that’s what happens with Blocker, who can’t find peace inside. Or Rosalie, whose sorrow for the family loss is infinite. The three characters are exceptionally treated, and we see how they subtly evolve according to a plot woven according to a very good script.
The crossing to the purest subgenre of the road movie (here we could speak of “ride movie”) unites and humanizes the characters. On the other hand, blocker leaves behind his beast. Yellow Falcon only wants to die in peace with his family. It will be a journey that will pit them against the Comanches, old comrades (exceptional Ben Foster as always), and his inner demons. In short, the film makes a journey through the emotional states of the human being, of hatred, discrimination, and savagery.
The film leads the characters to know forgiveness and humanity; in conclusion, our characters are redeemed. Rosalie has a lot to do with it. In this sense, I have to say that I was enormously satisfied with the ending because, in the face of so much tragedy, the film demanded the scene with which the film ends. On the other hand, a message still resonates strongly in today’s North America, whose social groups sometimes resort to primitive and savage instincts to demonstrate their superiority to others.