Review: Tom Horn

Steve McQueen stars as the real-life tracker and interpreter, who was instrumental in capturing the infamous Geronimo. The film charts his last stages of life where he is recruited as a ‘stock detective’ to take on cattle rustlers on behalf of the Stockman’s Association, particularly the folksy John Coble (Richard Farnsworth). Unfortunately, after a while, news of Horn’s violent methods become far too widely known for the association (particularly Billy Green Bush’s politically ambitious Marshall) to tolerate and something must be done, although the honest Coble will have nothing to do with this talk. The Marshall arranges for Horn to be arrested for the murder of a young boy, including getting a contrived and drunken ‘confession’ to the crime from Horn. Linda Evans is a local schoolmarm Horn strikes up a relationship with, Slim Pickens is the local sheriff somewhat reticent but duty-bound to arrest Horn, Roy Jenson plays a foul-mouthed homesteader, Geoffrey Lewis is a smarmy prosecutor, and Elisha Cook Jr. appears in one early scene.

This dour 1980 William Wiard (A TV veteran in his film directing debut) western inspired by the real-life title character is definitely a bit underrated. It could’ve even been a really good film if it weren’t such a narrative mess, but it’s still a whole lot better than its reputation suggests.

 

The problem is definitely the screenplay by Thomas McGuane (“Rancho Deluxe”) and Bud Shrake (“J.W. Coop”, “Songwriter”), who fail to make us see why Horn’s employers would turn against him for his violent ways which were essentially why he was hired in the first place. I also don’t think there was enough of an emphasis on those supposedly recklessly violent actions (Obviously they can’t show him killing the kid, because he most likely didn’t. But his reputation was of a violent, shoot first type and I didn’t see him to be much different from anyone else in the Old West).

Also, the romantic subplot between Horn and a schoolteacher played by the vanilla Linda Evans is crudely integrated into the film. I couldn’t work out if it was all a flashback or not. Apparently there were lots of rewrites and studio interference led to much editing, and it definitely shows. Having said that, the film gets right on track for a harsh, grim, and memorable finale.

Steve McQueen (who, legend has it, directed much of the film himself, after several others had a hand in it), in one of his last roles, apparently found out he had cancer just after filming this movie. He certainly looks older and more weathered and gaunt than I’m used to seeing. His performance, though, is typically rock-solid, and his characterisation typically stubborn, unbending, and stoic. Richard Farnsworth is excellent in support, and there are scene-stealing roles for veterans Slim Pickens, Elisha Cook Jr., and Roy Jenson who gets one scene and one line, but it’s the funniest in an otherwise hardened film (‘I got your fucking note! I rolled it up in the back with tobacco and smoked it!’).

Historians might quibble with the depiction of characters and events here (and indeed, Horn comes off as stupidly stubborn towards the end to a degree I couldn’t quite understand), but I must admit, overall this film kept me interested throughout. It’s a lumpy and not terribly successful film, but an interesting failure at least. I’m surprised there’s so much scorn for it, even today.

Rating: C+