While the golden years of the Western Genre were no doubt the 50's and 60's, the 70's still had its own fair share of classics. The likes of High Plains Drifter (1973) and Pat Garret & Billy the Kid (1973) are just two examples of what the decade had to offer.
Admittedly, these Westerns were quite removed from what had come before, with a stronger focus on sex and violence. No longer could you be certain that the hero would ride in on his white horse and save the day. One perfect example of the changing genre is Robert Altman's McCabe & Mrs Miller (1971). Primarily a deconstruction of the western, McCabe & Mrs Miller is possibly Altman's finest work. Subverting many conventions of the genre, this is a coldy bleak view of the American West. There is none of the romanticism evident from those Westerns of the 50's and 60's, echoing the clear change in attitude of the 1970's, with an altogether more pessimistic outlook of the world. Altman even went so far to call it an "anti-western film". Based on Edmund Naughton’s novel McCabe, the film opens with McCabe’s (Warren Beatty) arrival into the town of Presbyterian Church, named after the town’s only significant building. McCabe is quickly able to impress the simple minded town folk due to his brusque personality and their belief that he is a famous gunfighter.
McCabe wastes no time in setting up a makeshift brothel, made up of three prostitutes he purchased in a nearby town. This brings about the arrival of English madam Mrs Miller (Julie Christie), who gets into business with McCabe, turning the brothel into a higher class establishment and increasing their profits.
Their success leads to the attention of the Harrison Shaughnessy mining company who wish to buy out McCabe’s business as well as the surrounding zinc mines. McCabe stupidly thinks that he can deal with them, not realising how ruthless the company can be. They aren’t above having people murdered when they are unwilling to sell.
By the time McCabe realises he has overplayed his hand the Shaughnessy company has already sent three bounty hunters to take care of him. Refusing to leave, McCabe has to make a stand alone against them.
Like most Altman films there is more of a focus on character than plot. With his trademark overlapping dialogue, viewers would be forgiven for missing certain plot points but this is inconsequential to Altman. He is as interested in the small character moments as he is in driving the film forward. To fans of his work this is a non-issue but could initially seem strange to those who were expecting a straightforward Western tale. In many respects, it is this approach that sets it apart from other Westerns. The main plot isn't especially noteworthy. There is certainly nothing to set it apart from other Westerns, before or since. It is how Altman chooses to tell the story that makes it standout. Altman creates a true sense of feeling, showing the true hardships of frontier life. While it is true that McCabe & Mrs Miller isn't the most action packed of westerns Altman is still able to rack up the tension on a number of occasions. One of the best scenes of the movie is when McCabe sits down in the bar to discuss terms with Bounty Hunter Butler (Hugh Millais). Clearly out of his depth, we begin to fear for McCabe's life as he nervously tries to talk himself out of a potentially violent situation. There is also the finale where McCabe has to face off against three hired killers alone. Unlike the Western heroes portrayed by John Wayne or Clint Eastwood, McCabe initially tries to hide before eventually having to face off against his would be assassins. The falling snow is just another aspect that adds to the scene, with McCabe and the gunmen almost waist high in snow as the scene reaches its climax.
Altman adds a bit of irony to the finale, with the townsfolk being oblivious to a shootout happening only yards away due to them trying to save a burning church.
There is even a tinge of Sam Peckinpah with Altman's use of slow motion in the violent scenes. While not exactly The Wild Bunch (1969) in terms of bloodletting, the violence still has a shocking quality to it.
While taking place in Washington, the film was shot in West Vancouver and in Squamish, with the set being built from scratch. With the entire film being shot in sequence, the set was built accordingly with sections appearing just as they do in the film.
By employing the skills of ace cinematographer Vilmos Zsigmond, Altman created a film that looked unlike any Western of the time. Typically for Zsigmond, he employs a great deal of natural lighting throughout the film.
Even when filming muddy streets and dilapidated buildings Zsigmond is able to create some startling imagery. The snow bound finale is the clear stand out and shows Zsigmond at his best.
To give the film its distinctive look, Zsigmond and Altman chose to flash (pre-fog) the negative. This meant that the studio wouldn’t be able to later implement changes to the look of the film during post production.
McCabe & Mrs Miller wasn't Zsigmond's only Western of the year. He would additionally work on Peter Fonda's excellent The Hired Hand (1971). Sadly neglected at the time it has since went on to be regarded a minor classic of the genre. It works as a good companion piece with McCabe, as both take a more realistic approach to their material and show the real difficulties of frontier life.
The main role of McCabe was originally offered to Elliot Gould, who had just recently worked with Altman the year before on Mash (1970). Gould ended up turning it down, paving the way for Beatty. Clearly Gould regretted his decision as he would later go on to appear in The Long Goodbye (1973) and California Split (1974) for Altman.
As great as Gould is, it is hard to imagine him in the role of McCabe, with Beatty truly making it his own. Hiding his good looks under a face of hair, Beatty has never been better. McCabe always seems to think he’s the smartest guy in the room but you quickly realise that he isn’t with Julie Christie’s Mrs Miller able to run rings round him.
While the title alludes that the film will mostly focus on the relationship between McCabe & Mrs Miller, they actually don’t share as much screen time as expected. While it is clear that there is an element of affection between the two, their relationship is mostly a business one. Even when they sleep together McCabe still has to pay for it.
Christie also stands out as the no nonsense business woman, who covers up her insecurities with the
use of Opium. However, of the two main characters she is clearly the smarter and stronger of the two. Christie’s character is refreshing. The Hollywood Westerns of old would have been tempted to portray Mrs Miller as the whore with the heart of gold. While Miller isn’t unsympathetic, she is clearly a business woman first.
As well as the leads, Altman fills the film with terrific supporting turns from the likes of Rene Auberjonois and William Devane as well as Altman regulars Shelly Duvall and Keith Carradine, the latter making his feature debut as an unlucky cowboy. Both would go on to star together in Altman’s Thieves Like Us (1974) and Nashville (1975).
British actor Hugh Millais also manages to make an impression as immoral bounty hunter Butler. The previously mentioned scene between him and Beatty is a real standout in a film already filled with memorable sequences. Like so many of the cast, Millais would work with Altman again, appearing in psychological horror Images (1972) the following year. Altman would later revisit the western, albeit with less success with Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976). Although that isn’t to say it isn’t without merit. Like most Altman films, Buffalo Bill contains terrific performances and is still worth anyone’s time.
Rating: 4/5
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