The Long Riders

Hill wants the viewer to read his frames, not his dialogue; lighting, angles and cut ting carry the weight of meaning. Perhaps he sends too many people to meet their maker in balletic slow-motion. But that is only a small reservation. Hill is very much in the American grain, the inheritor of the Ford-Hawks-Walsh tradition of artful, understated action film making.

Concentrating on familiar rituals - the funeral, the hoe-down, the robbery (a stunning tour de force in slow motion) - Hill pays tribute to such directors as Ford, Hawks and Ray, emphasises the mythic aspects of the Western, and focuses on the subjects of kinship and the land (probably suggested by Scotsman Bill Bryden's screenplay). This last theme is emphasised by Hill's coup of casting real-life brothers as the members of the gang. A beautiful, laconic and unsentimental film.

The Long Riders takes more than a few cues from John Ford, favoring laconic characters whose projected confidence masks an inability to vocalize basic desires.

The screenplay (by Bill Bryden, Steven Phillip Smith, Stacy and James Keach) is basically an assemblage of bits and pieces that doesn't build toward any real emotional payoff. Yet The Long Riders is still the best Western in many years -- it has the laconic elegance of a ritual. [02 Jun 1980, p.87]

A striking Western but empty as it is elegant. [25 Jan 1987, p.5]

What’s ultimately missing is a definable point of view which would tie together the myriad events on display and fill in the blanks which Hill has imposed on the action by sapping it of emotional or historical meaning.

Walter Hill's first outright failure, this revisionist western draws on the major themes of his work—the relationship of pursuer and pursued; the beauty of clean, planned action; the attraction to violence and resultant moral revulsion—but none of them ignites.