Monte Hellman’s‘s two 1966 Westerns, The Shooting and Ride In The Whirlwind, have finally received due recognition in a Criterion edition. For years, Hellman’s “existentialist” Westerns (as they are often termed) have languished in execrable transfers on Z-grade DVD labels. Even these have usually been out of print, and only available at mortgage payment-level prices.
Both were produced by Roger Corman(uncredited), Jack Nicholson, and Hellman, with Hellman directing both simultaneously. The Shooting was written by Carole Eastman, Ride In The Whirlwind by Nicholson. The writing proves to make the difference; Nicholson lacks Eastman’s sense of pacing and aptitude for coherent nonsense. Still, each film is sharply focused and securely grounded amongfilms for the bourgeoisie to walk out on (a quick glance at the deluge of prosaic comments from banal IMDB users serves as a verification of Hellman’s provocative reputation).
Ride In The Whirlwind opens as a traditional Western, with a stagecoach robbery. Tradition soon gets thrown out with yesterday’s bathwater. The robbery goes askew, as do concepts of righteousness, virtue, honor, and frontier justice. The ensuing shootout between rival gangs lays waste to our inherent ideologies of heroes and villains.
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