McCabe & Mrs. Miller

Behind every great man is a great woman. McCabe is the man, Mrs. Miller is the woman, and together they form a pretty successful team. Both are in search of the American dream: freedom, fortune, security. Mrs. Miller, a prostitute, and the real brains behind the operation helps make this possible for the couple. She doesn't want to be nothing but a whore for the rest of her life. They partner up and establish the best lil' whorehouse in town. This is quite the unconventional western, and it is executed so perfectly as only the great Robert Altman could do.

I loved the whole process of the film. I liked the characters and wanted to see them succeed. When things go bad, as they often do, some very tense sequences ensue. Men are hired to kill McCabe for not negotiating with the right people. There is one part where he first meets the man hired to kill him that is so nerve-wrecking, but so amusing at the same time. I mean, it's pretty clear early on that McCabe is a bit of a buffoon, but I think this is the crucial point in the film when we know we really care about his fate.

Wonderfully acted by Warren Beatty and Julie Christie in the lead roles(as well as the supporting cast), being in the hands of Robert Altman, and with some great music by Leonard Cohen, McCabe & Mrs. Miller proves itself as a great, great movie. It's a comedy, a tragedy, a classic, a true masterpiece.

My rating: 10/10

Few westerns have succeeded so strangely yet so completely in evoking a sense of place and time than Robert Altman's "McCabe and Mrs Miller". In fact, it's not really a western at all; certainly not like any western I've ever seen. It's setting is the Pacific Northwest; cold, rainswept and often covered in snow. There are gunslingers but they are more like the professional hit men of gangster movies. When Altman isn't filming through the haze of a rain-drenched exterior he is filming through the haze of a dimly lit interior where darkness is more prevalent than light. Above all, it doesn't have a conventional western hero. McCabe is like a tragi-comic Everyman out of his depth and his territory in this largely alien environment yet canny enough to apply his savvy into transforming the landscape into something tangible, real and materialistically American.

In this respect it is a very modern film in spite of its setting. The fact that Altman doesn't care very much about convention or even about narrative, (it's story is perfunctory; Altman is more interested in 'observing'), makes it so. But then "MASH" wasn't a conventional war movie either just as "Nashville" wasn't really about the country music business.

As for McCabe himself, Beatty plays him with the same laconic, stammering mannerisms he applies to all his roles, (and which he seems either blessed or cursed with in real life), and which actually makes him a perfect Altman hero, (or anti-hero, if you prefer). Mrs Miller, on the other hand, seems coolly distracted from what's going on around her. Julie Christie plays up her Englishness adding another element to the alienation of her character, a stranger in a strange land indeed, while in the foreground the songs of Leonard Cohen seem to hover like warm blankets, cosily familiar and comforting even at their bleakest. They could have been written for the film.

I spent the entirety of my final year in college reading western literature, reading about western literature, and watching western films. Although I had long been a fan of Altman's 1971 masterpiece, I would probably never have called it the greatest western film. Having sat through most of the Rios, the Searchers, Red River, Stage Coach, the Leone Spaghetti Westerns, and the more current incarnations of the genre (Unforgiven, Dances with Wolves, All the Pretty Horses, et al.), I will say without hesitation that McCabe is a superior film (and a superior western) to all those listed.

It is not, of course, a traditional western, nor does it hold true to traditional 'values' of the western. You will not find any rampaging indians, and the typical shots of vast prairies or a surreal Monument Valley. Your hero is a conniving gambler and the heroine is a whore (and one that quite distinctly lacks a heart of gold). They're sympathetic, but they're also quite real with all the faults and foibles humans typically have. The landscape is brown and green; trees are everywhere and it looks like it's wet most of the time (which is appropriate to a film taking place in the Northwest). One of the few "cowboys" in the film dies in his underwear.

By a long shot, then, this is not your typical western, but it is better.

The wooden characters of old are replaced with real people to whom we can relate and about whom we can care. Furthermore, the environment - dark, dirty, wet, and all around not terribly inviting - seems more in line with the historical west than the traditional western. The West was not the nicest place to live; it was dangerous and inhospitable as it is in McCabe.

I could go on and on about how Altman inverts the western film tradition throughout the movie (as well as how he dismantles the notion that capitalism is a good economic and social system), but I will not. There is no need to treat McCabe that academically. The film is simply wonderful and entertaining - terrific performances, wonderful cinematography, a fascinating story, and great (and very Altman-esque) direction with overlapping conversations and well-handled improvisations. The movie also has the most perfect soundtrack I have ever heard. The songs - by the one and only Leonard Cohen - perfectly match the mood and atmosphere of the film and moreover feel like artifacts of that bygone era depicted in the film. That they were not written or recorded specifically for McCabe is astounding, as they are such an integral and organic part of this film.

If you have not seen this film, please do so; it's well worth the time and, unlike Nashville and Short Cuts - Altman's other masterpieces - it's very accessible.

Robert Altman puts his unique spin on the Western, and gives us a haunting and mournful film, and one of the best in his canon.

Warren Beatty buries himself underneath a bushy beard and an enormous fur coat to play McCabe, an opportunist who considers himself to have much more business savvy than he actually does. He appears in the ramshackle mining town of Presbyterian Church, somewhere in the wilds of Washington state at the turn of the 20th Century, and builds a whorehouse and saloon. Constance Miller (Julie Christie), also sporting her own mound of unkempt hair, arrives a little later and becomes McCabe's business partner. She knows much more about running a whorehouse at a profit, and it quickly becomes clear that she's the brains behind the operation. These two develop a timid affection for one another that's never overtly expressed, but their relationship doesn't have time to prosper, as a trio of hit men arrive to rub out McCabe after he refuses to sell his holdings to a corporation intent on buying him out.

Not surprisingly, considering the director, "McCabe & Mrs. Miller" is a strange film. There are virtually no scenes given to outright plot exposition or to showy acting. Much of the plot is conveyed through asides, casual glances and subtle nuances. Wilderness life is shown in all its unglamorous detail, and many of the normally familiar actors are unrecognizable behind their bad teeth, greasy hair and dirty faces. The harsh environment is a character itself, and few movies have a more memorable ending, with McCabe engaged in a most unconventional shoot out amid waist-high drifts of snow.

Altman is of course interested in debunking the usual Western myths. There are no heroes to be found here. McCabe is a decent enough guy, but he's a bit of a fool, and when the bad guys come calling, he runs and hides. The American frontier depicted here is not a sacred place waiting for brave and noble men to come and realize their dreams. Instead, it's a brutal and dangerous wasteland, in which only the craftiest can survive. The theme of corporate exploitation that pervades the film still rings resoundingly to a present-day audience.

But for all its harshness, "McCabe & Mrs. Miller" is a beautiful film to look at. Vilmos Zsigmond bathes everything in an ethereal light, and if there are images of icy starkness, there are also reverse images of rich warmth, notably those that take place in the whorehouse itself, which ironically becomes much more of a civilizing agent and cultural epicenter for the small town than the church that figures so prominently in other ways.

One of the best from Altman's golden period as a director, and one of the best films to emerge from any director in the 1970s.

Grade: A

This is one of those groundbreaking films that that put the whammy on a genre; in this case, the Western can never come back. Oaters traditionally are the realm of strong male characters righting wrong, loving their horses, and ignoring the school marm. Robert Altman, a political and cultural man of the 1960's Left simply says "horse feathers." The hero is a corrupt bawdyhouse owner. The school marm makes her living in a crude manner and normal everyday middle-class types don't really exist in the hardscrabble world of capitalism.

The town in Vancouver, Canada sits in a mountains and wilderness. The film company built the town. That's real snow there folks and blizzards as our anti-hero Beatty shoots it out with the company men while his best "girl" Julie Christy hides out in an opium den, her brown eyes realistically glassy. John Wayne's, The Searchers was one of the best films ever made. McCabe & Mrs. Miller tries to undo all that.

Fascinating look at the underbelly of frontier life and a forerunner of the HBO series Deadwood, the West may not be a better place for it.