In film Head hunterscreenwriter and director Walter Hill, the legacy of Western cinema is very clear. So much so that its opening episodes—with its sweeping arid landscapes and dramatic soundtrack—are inevitably reminiscent of Sergio Leone’s desert scenery.
But the resemblance is less close than one might think. Head hunter This is not a story of violent people who run into each other in the middle of dry places, a common place in Western. At least it’s not just that. It is also an exploration of the need for survival and a search for hope, which is always thwarted by death.
The director, however, avoids resorting to genre clichés. He avoids the overdramatic and inner darkness of his characters to immerse himself in his often violent performances. Instead, he builds a context in which the events of history seem to be the work of a great fate, leading to an ironic ending. Everything that happens in Head hunter it moves towards tragedy or revenge. Often both at the same time.
Head hunter
Walter Hill’s Bounty Hunter is a western that eschews all genre clichés by emphasizing the ultimate fate of its characters. Also, in learning how every bad or good action will have inevitable consequences. The script’s sense of predestination makes the American West of 1897 timeless territory. Greed drives every decision, and at the same time, the need to survive. The argument moves between two extremes. All the main characters are simultaneously capable of both kindness and bloody cruelty. The unique combination gives the film its best moments. Especially for its closure, which manages to firmly close every unfinished ending in its story.
Wild West in a modern interpretation Head hunter
The plot tells in the opening scenes how this tense and strange world is governed by its own rules. American West 1897 is unlike anything else and Head hunter shows it in detail. The director’s camera focuses on the blood-splattered ground, flimsy old wooden houses, and the peculiar men who survive in such a corner.
Everyone knows that he must kill or be killed. So the bounty hunter Max Borlund (Christoph Waltz) has to cover his back, his few belongings and survive as best he can. The actor, known for his playful villains, finds a way in the character to give a moral nuance to the motive.
Max he knows he can only survive if he keeps going. And this means that you need not to get hit by a bullet, and also to find the next prey. Which will put you on the path of an old acquaintance. Joe Cribbens (Willem Dafoe) is a cunning, unhealthy fugitive with the air of a laughing psychopath. But the story about Head hunter does not allow confrontation between them to become the center of conflict. Instead, he wonders what makes them a symbol of a lifestyle that depends on violence as a source of livelihood.
An old story told in an original way
Walter Hill manages to imprint on his main characters a timeless look of people who can inhabit any era. Their conflicts – greed and the need to survive – are understandable, although not in the way that the plot resolves them. One of the great attributes Head hunter the point is that it prevents the story from becoming a cat-and-mouse game. Instead of, Max And Joe they are two marginal beings who face the law and its consequences. They also occupy a place in a cruel and in most cases ruthless society.
Head hunter He cuts to the middle section, where he finally discovers two landmarks that give Max a new dimension. On the one hand, this will be his last assignment. On the other hand, his job is to deal with the drama that is present in the film’s subtext.
Rachel Kidd (Rachel Brosnahan) and Elijah Jones (Brandon Scott) Escape across the plains in an unlikely and twisted story. Elijah is a black sergeant who left the army because of an affair so passionate it seems parodic. Rachel is the wife of a wealthy businessman who decides to run away from him. Max will take it upon himself to get her back and wash away the shame of infidelity.
The director manages to create an atmosphere that allows you to understand the motives of this couple, in which love is more like despair than tenderness. Particularly when the interracial component becomes a fundamental element for the rest of the film. Max will become a ghost who follows in his footsteps with a manic obsession. For his last leg Head hunter You will have to explain how this jumbled-up scenario comes together into a single plot that closes the loose endings.
Head hunter and the fate that overtakes them all
What he achieves with the idea that evil, as behavior and decision, has consequences. Max You will have to take responsibility for your actions, good or bad, in a series of episodes that aim to present a modern look. Walter Hill eschews close-ups of the frozen faces of his characters and turns to wide shots in which the nameless city is the stage and witness to what is happening.
Little by little, the main characters will find themselves in the territory of lawlessness, in which every fate will be decided after death. For the final scene Head hunter, the director shows that predestination decides everything. Not even in this fictional story that ends the long journey of redeemed anti-heroes and villains detailed in the film.
Source: Hiper Textual
