Hostile Environment

There is a fascinating duality to the old west. Still mostly unsullied, the natural landscape was peaceful, serene, carrying with it an almost quiet solemnity (a new life filled with hope), yet, in the blink of an eye, violence could rear its ugly head, leaving behind a long lasting wake of pain, hurt, melancholy, and anger. An existential study of the clash of cultures, and the grey areas that sit in the large milieu between war and peace, Scott Cooper’s 2017 western Hostiles is a film that pays tribute to the past whilst speaking to the present unrest found in the world today.

Centred around a man of conviction, stoic military veteran Capt. Joseph J. Blocker (Christian Bale), he has made his living off of slaughtering the native hordes that disrupt America’s Manifest Destiny. Called into the office of his superior, Col. Abraham Biggs (Stephen Lang), early one morning, he is less than pleased to learn that his final assignment (before retiring) will be to transport a cancer-riddled Cheyenne war chief, Yellow Hawk (Wes Studi), and his family, including son Black Hawk (Adam Beach), from New Mexico to his homelands of Montana – at the bequest of President Harrison. At first willing to disobey orders on his principles (Yellow Hawk was responsible for killing many of his colleagues and friends), the Colonel threatens to court-martial him and remove his pension – basically forcing him to take the job.

Selecting his team, Blocker chooses two long-loyal friends, melancholic Master Sgt. Thomas Metz (Rory Cochrane) and African American Corp. Henry Woodson (Jonathan Majors), as well as West Point newbie Lt. Kidder (Jesse Plemons), while Biggs adds French-American youth Pvt. Philippe DeJardin (Timothée Chalamet) to the detail.

It is a long and arduous journey, filled with all sorts of treacherous dangers. Speaking to the opening paragraph’s commentary of duality, the company come across a burnt homestead where they find a woman, Rosalee Quaid (Rosamund Pike), in a state of crisis – surrounded by her three murdered children, her husband lies outside, face down in the dirt – with numerous bullet holes throughout and an arrow in his back.

Learning that it is a roving party of Comanche, it adds another threat to the journey. . . something Yellow Hawk immediately recognizes – he pleads with Blocker to unchain his family so that they too may aid in the battle (something the man is extremely hesitant of). Also tasked with transporting the forlorn woman to the safety of the next fort, it adds another burden onto the back of Blocker.

Without giving too much away, the group (perhaps not all in one piece) arrive at Fort Winslow in Colorado, and find some respite under the care of Lt. Col. Ross McCowan (Peter Mullan). Though the superior officer has his own troubles, he asks the already strained Blocker for another favour, that is, to transport Philip Wills (Ben Foster) to Montana – where he will be court-martialed and hanged for murdering a family with an axe. To assist, he provides Sgt. Paul Malloy (Ryan Bingham) and Corp. Tommy Thomas (Paul Anderson), two able-bodied soldiers.

Filmizon.com’s Nikolai Adams with Scott Wilson (centre right) – who has an extended cameo in Hostiles. Also featured: Josh McDermitt (left) and Michael Rooker (right)

A tale of human struggle, it is an actor-centric feature – and that is what it is filled with – true actors. Each cast member brings so much to their respective role, with Bale leading the way. His doleful face speaks as much as any dialogue, as if he is the character incarnate – each look, glance, grimace and tear a testament to his craft. Likewise, Pike’s portrayal of grief is almost primal, a woman who must find an unimaginable strength to pull herself from the depths of despair and find a reason to live – not only envy the dead; whilst Studi’s solemn, quiet gravitas demonstrates a long lived life of a leader that is filled with love and loss, nurturing and violence. And please do not forget the other actors mentioned above, as well as Scott Wilson, who has an excellent extended cameo as the film chugs toward its conclusion. To add one more note, it is wonderful to watch how the extended journey changes the characters, Rosalee slowly finding solace in both the trek and Blocker, Blocker finding some common ground with Yellow Hawk and his family. . . each instance a suggestion on how to build a better life and more unified country.

As if painted by a master painter, it is like looking at a perfectly crafted piece of art. Striking silhouettes ride as a picturesque dusk ushers in another dark night, Blocker contemplates his unjust task by lamplight late into the evening, the group travels through almost alien-like rock formations. . . each example of cinematography, landscape, and camera use/placement (some unbelievably beautiful symmetrical shots) are a marvel to behold. Some visuals will bring to mind the classics by John Ford (The Searchers), while many of those lengthy shots showing the group travelling the seemingly endless vistas will draw parallels to David Lean (Lawrence of Arabia), and, at other times, it feels both unique and original.

With a stellar cast, superlative visuals, striking cinematography (from Masanobu Takayanagi), a solid score (by Max Richter), and a straight-forward (though engaging) story, Hostiles is a worthwhile entry into the ever-growing pantheon of quality 21st century westerns (think 2005’s The Proposition, 2010’s True Grit, 2015’s Slow West, 2016’s Bone Tomahawk and modern set takes on the genre like 2016’s Hell or High Water, 2017’s Wind River. . . even 2017’s Logan could be argued to fit the bill). Something else worth noting is that this is a very rare film that was shot in chronological order – likely one of the reasons the characters and their development work so well. All aboard!!! for this hostile, and often melancholic voyage that is not without hope and a future. . . a ride well worth taking.