Crossfire Trail

When authors are writing a story, a short story, a novel, do you think they write thinking of a movie star or actor that could portray their characters? I know I've written like that. When western author Louis L'Amour was writing one of his many memorable western novels, I can't help but think if he specifically thought of Tom Selleck as a potential star. Talk about a match made in heaven from book to film. One of several worthwhile examples is a 2001 TV movie, Crossfire Trail.

It's 1880 in the Pacific Ocean and a ship is making its way to San Francisco. On board, a man named Rafe Covington (Selleck) has made a promise to a dying man who owns an expansive cattle ranch in the Wyoming Territory. He's long been away from the ranch and his wife, Anne (Virginia Madsen), and doesn't know what's come of them. With two friends along to help out, Rafe heads for the ranch not sure what he's stepped into. Anne is under the assumption that her husband died well over a year ago and for better or worse has moved on, and is even engaged (sort of) to the local businessman and head honcho, Bruce Barkow (Mark Harmon). No matter the extreme difficulties thrown his way, Rafe intends to keep his word to a dying friend, even when Barkow resorts to violent measures to get what he wants.

Want some proof that the western genre isn't dead? Debuting on TNT in January 2001, 'Crossfire' racked up over 12 million viewers. It was the most watched TV movie until....2007's High School Musical 2 (Yeah, there's a proud moment for you). Why did this 2001 made-for-TV western resonate so well with audiences? There's something to be said for Louis L'Amour westerns whether they're in film form or good, old-fashioned novels. We're talking good guys and bad guys, keeping your word versus betrayal and backstabbing. Don't get me wrong, I love the more adult-themed 1950s westerns, the ultra-violent spaghetti westerns and the cynical 1970s westerns, but it's nice on occasion to go back and revisit the heart of the western; good vs. bad. Kudos to director Simon Wincer (Quigley Down Under). Oh, and Alberta, Canada fills in nicely for the American west with some gorgeous-looking film locations.

No stranger to Louis L'Amour adaptations, Selleck picks up where he left off with The Sacketts and The Shadow Riders. He's also put his western stamp on films like Quigley Down Under (with Wincer), Last Stand at Saber River and Monte Walsh. Selleck just seems at home in the western and especially so in bringing L'Amour's laconic, steadfast heroes. He does a great job as Rafe Covington, a cowboy, a drifter, a sharpshooter, and a man who sees a chance to settle down and create something for himself. A man of few words, he's comfortable in his own skin and lives by his set of morals, judgements and beliefs. Selleck makes it look easy and has some excellent chemistry with his co-star, Virginia Madsen. Maybe more than that, he looks like a cowboy in the saddle, throwing down with a bad guy who's just asking for it, and lining up a shot with his new-model Winchester rifle.

As with several other western/L'Amour novels, our hero needs a team. Familiar, archetypal characters, but good characters. Here, Rafe isn't alone as he's got Joe Gill (Wilford Brimley), the grizzled ranch-hand, Rock Mullaney (David O'Hara), the fun-loving, hard-drinking Irishman, and J.T. Langston (Christian Kane), the youngster of the group proving he belongs with the rest, proving he's a good cowboy. There's some great moments among the group of four, cowboys from different backgrounds riding the trail or sitting around a campfire, those perfect little moments that stand out in the western genre.

For a TV western, there's a pretty decent cast overall. Before his NCIS days, Mark Harmon gets to villain it up as Barkow, the smooth businessman with a sinister streak right up his back. As his enforcer, Brad Johnson appears about halfway through the movie as Bo Dorn, the hired killer with absolutely no scruples. His scenes with Selleck's Rafe especially crackle with intensity. Also look for Barry Corbin as a sheriff with no backbone, Rex Linn, Marshall Teague, and Patrick Kilpatrick as assorted cowboy fodder for Rafe, and William Sanderson as Dewey, the saloon bartender. Not huge names but some very solid actors and performances sprinkled throughout.

Look, Crossfire Trail is a good western. It's not a classic, and it makes no effort to rewrite the genre. You could easily see John Wayne playing Rafe Covington with a cast full of familiar faces around him in a 1950s western directed by Henry Hathaway. There's not a ton of gunplay, most of that saved for the finale as all our different good guys and bad guys have it out in a vacant western street. You know the ending before it's even there, and you know what? It doesn' matter in the least. A good story, a perfect star, an excellent supporting cast. You don't need much more when it comes to the western. Enjoy this one. I certainly did.

Crossfire Trail (2001): ***/****

The Sacketts

In a career that spanned a handful of decades, author Louis L'Amour published over 100 works that included novels, short stories, and even some non-fiction, many of which were turned into TV shows and feature length film adaptations.   Most of these works were westerns, and I started reading them at a young age, starting with The First Fast Draw.   I've enjoyed some more than others, but the ones I've gone back to come from a series of books about the Sackett family.

In the time when miniseries were extremely popular -- better known as the 1970s and 1980s -- two of L'Amour's Sackett novels were turned into a two-part miniseries in 1979 appropriately titled The Sacketts. My first concern was that the two source novels are two separate works about three brothers -- two in one book, and the third in a separate book -- with a very quick crossover.  So how is a miniseries with two vastly different stories expected to work?  Like any adaptation, things were dropped and left by the wayside, but big picture, this miniseries works because of the talent involved.

Based on the novels The Daybreakers and Sackett, the miniseries focuses on three brothers from a Tennessee family heading west in the years following the Civil War.  Tell (Sam Elliott) is the oldest and despite growing up in the South, joined up with a Union infantry regiment during the war.  Once Lee surrenders, Tell heads west, ending up as a drifter/saddle tramp looking for work wherever he can get it.  Too young to join the fight, Orrin (Tom Selleck) is engaged to be married to a local girl, but a long-standing feud interrupts with young brother Tyrel (Jeff Osterhage) killing a man in his brother's defense.   With the local law looking for answers, Orrin and Ty head west to set up a new life.

Riding into Texas, Orrin and Ty sign on with a cattle drive heading north to Abilene.  Along the way, they become more than capable cowpunchers and in the process meet  ramrod and trail driver Tom Sunday (Glenn Ford) and veteran cowboy Cap Rountree (Ben Johnson). Delivering the cattle to a buyer, the quartet sticks together and heads west to Santa Fe only to find a range war brewing between the Mexicans (led by Gilbert Roland) and the Americans (the always evil John Vernon in charge). Further north in the mountains, Tell stumbles upon a gold vein, but that's just the start.  The Bigelow brothers are on his trail looking for vengeance.  And wouldn't you bet, at some point the brothers' trails cross?

Cramming two full books into a 4-hour miniseries had to have been a daunting task for writer Jim Byrnes, and he does a solid job adapting the novels. Both books delved into romantic subplots with the brothers meeting women along the way, but in putting together a story about three brothers -- and not the ladies -- these subplots are just that, subplots in the background.  Byrnes also had to invent basically a new storyline (the brothers meeting up on the trail) and an ending because Daybreakers and Sackett just didn't cross paths.  All in all, props to Byrnes for pulling it off.

Starting with the casting of the Sackett brothers, the actors involved from top to bottom are downright impressive, more so for fans of westerns.  Elliott, Selleck, and Osterhage were not stars when they were chosen to play these brothers.  It's funny that the best character, Tyrel, was played by the actor who for some reason, never became a bigger star.  As L'Amour writes them, Ty was my favorite.  Like Tell, he's quiet and unassuming, but when pushed he pushes back.  Elliott is basically a rougher, older Ty and growls his way through the part, and Selleck gets to be Selleck, a charming, likable personality.  Among the three, there's a definite chemistry which pays off in a big way.

L'Amour's main characters were the prototypical western hero; tough, honorable, and able to shoot their way out of any sticky situation.  These were men of few words who did what was right because they didn't know any other way.  These three actors were all so good there's even an unofficial sequel -- 1982's The Shadow Riders -- where they play a trio of brothers, the Travens this time.  Through all its other flaws in the miniseries, the casting is about as perfect as casting can be.

By 1979, the western had played out its line in terms of moviegoing popularity thanks to the spaghetti westerns and ultra-violent spins the genre took.  So in a way, this is a last hurrah for the western, and the casting represents that.  Tom Sunday is younger in the book, but Ford playing him is just right.  He's a former lawyer, a cowboy, and a gunfighter and serves as a replacement father for the boys.  Johnson as the saddle-sore cowboy who seen it all? Born to play the part.  Roland makes a quick appearance, and Vernon is typically evil.  Ruth Roman is good as Emma, a saloon owner in an outlaw town who knows Cap. The Bigelow brothers include Jack Elam, Slim Pickens, and Gene Evans.  For the cherry on top, throw L.Q. Jones and Paul Koslo in for good measure. It'd be hard to ask for a better cast.

This review is getting a little long so I'll start to wrap this up.   It's hard to complain about a TV miniseries looking like a TV miniseries, but The Sacketts isn't exactly made on a huge scale.  It feels like we see the same town over and over with the same backgrounds once the story requires the brothers to hit the trail.  My biggest complaint though was the music.  A soundtrack doesn't have to be great, it just can't be noticeably bad.  Well, the score here is bad, and in an obvious overdone way.  Overall though, just complaints for a highly entertaining, well-made miniseries that does justice to Louis L'Amour's novels.

The Sacketts (1979): ***/****