Review by Jim Chastain II
Norman Transcript

WHEREFORE ART THOU JOHN GRADY?

Romeo and Juliet in cowboy boots. That is a brief synopsis of All The Pretty Horses, for those of you who are unfamiliar with Cormac McCarthy’s critically-acclaimed novel, upon which the new Miramax film is based. A better synopsis, however, might be a romantic, coming-of-age, fish out of water, road trip, western, buddy film.

Set in south Texas and Mexico during the late 1940s, the story concerns John Grady Cole (Matt Damon) and his inseparable friend, Lacey Rawlins (Henry Thomas). Left without a home following the death of his father and the sale of the family ranch by his mother, John Grady convinces Lacey to join him on an adventure to Mexico. There, the fellow Texans will ride horses, tame wild stallions, drive cattle, sleep by a campfire, and do all those other things real cowboys do.

However, before crossing over the Rio Grande, John Grady and Lacey receive an omen in the form of Jimmy Blevins (Lucas Black), a cocky teenager who is in possession of what appears to be a stolen horse and gun. Lacey, who has a gift for accurately predicting future doom, wants nothing to do with the boy. Nevertheless, Blevins is allowed to tag along. Why? Because he’s an American.

Not too long after they cross the border, Blevins proves Lacey’s prognostication was correct when he involves John Grady and Lacey in a dangerous scheme. As a result, the trio find themselves running from a local posse.

After separating from Blevins, John Grady and Lacey make their way to the sprawling hacienda of a wealthy Mexican landowner, Rocha, played by Ruben Blades. Here, they find just what they wanted. A large ranch, rugged beauty surrounding them, magnificent horses, and plenty of opportunity. After learning the boys are good with horses, Rocha takes them under his wing and, briefly, becomes a sort of father figure to John Grady.

But, as recognized in the musical Oklahoma, the farmer/rancher and the cowman don’t make good friends. Even though the farmer is urged to make the cowboy welcome at his house, he is also warned to “be sure that you lock up your wife and daughter.”

Rocha is apparently unfamiliar with the work of Rogers and Hammerstein, however, and does not see a romance developing between John Grady and his beautiful young daughter, Alejandra (Penelope Cruz), until it is much too late. Rocha must now deal with what he sees as betrayal, and the young Texans will soon be fighting for their lives.

Directed by Billy Bob Thornton and written for the screen by Ted Tally (who previously wrote the screenplay for The Silence of the Lambs), All The Pretty Horses is a commendable adaptation of McCarthy’s novel. The film is technically strong in terms of photography, music, and costumes, and it sets the proper foreboding mood for what lies ahead. Tally is faithful to the novel, and his collaborative work with Thornton shines through as a labor of love.

Matt Damon is good in the title role, but his model-like looks and sparkling white teeth do not serve the picture well. Damon fits perfectly into the role he played in The Talented Mr. Ripley, but he is less convincing as a hardened Texas cowboy. In general, this can also be said about the other actors as well. Henry Thomas looks like the wholesome boy next door, and Lucas Black's choppers nearly blinded me at times. This occasionally took me outside the film, and I found myself pondering about renaming the film All The Pretty Actors.

The acting, however, is quite another story. Damon and Thomas prove they are worthy selections, and Black’s gritty performance is the most memorable in the film. Bruce Dern makes a brief, but somewhat longer-than-necessary, appearance near the end of the film.

John Grady’s relationship with Alejandra is, in my opinion, the most crucial part of the novel, but the film sputters on this point. Penelope Cruz is the right choice for Alejandra, and I do not fault her performance. However, it seems to me that we see John Grady with horses much more than we do with his love interest. The relationship begins, and, within a few minutes, it peaks. The filmmakers just don’t spend enough time here, and consequently some of the emotional underpinnings of the story are lost.

I still enjoyed the film and its strong story. As told here, it is, perhaps, more of a commentary on friendship than on love. It is fun to watch as entertainment and indeed as a work of art.

RATING B

© 2000 Jim Chastain II