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Having already seen My Darling Clementine (1946) and The Gunfight at the OK Corral (1957) several times, I was entertaining to watch what director George Pan Cosmatos and his screenwriters would do with essentially the same material in this film. There are principal differences between and among them but suggesting comparisons and contrasts would be unfair to three different films which appeared over a 57-year period.
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Now on to Tombstone. Director George Cosmatos worked with a tall cast and all of the performances are reliable. William Fraker’s cinematography and Bruce Broughton’s musical win are carefully integrated within the tale and succor it well. My beget plan is that Val Kilmer (Doc Holliday) dominates each scene in which he appears. However, Kurt Russell (Wyatt Earp), Dana Delany (Josephine Marcos), Sam Elliot (Virgil Earp), and Powers Boothe (Curly Bill Brocius) fill their possess.
As portrayed in the film, Tombstone (Arizona) is a western town in the last stages of being a community dominated by outlaws. The involvement of the Earps coincide with a growing local desire among residents to do law and order. The eventual showdown at the OK Corral is a key event but by no means the only one. I was especially alive to in how Cosmatos and Russell manufacture Wyatt Earp’s character as he struggles to follow his conscience, achieve some stability in his have life, and thereby complete a transition from gunfighter to private citizen.
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Back to Kilmer for a moment. I do not purchase a prior or subsequent film of his in which he reveals the laughable timing, nuances of personality, and conflicting anxieties which he does while portraying Holliday in Tombstone. His is a masterful performance, maintaining an stunning balance between impish humor and force of will. I recalled elements of that performance while recently observing Johnny Depp as Jack Sparrow in Pirates of the Caribbean. However, the Holliday character is revealed to have considerable greater depth and complexity than Sparrow’s even as both characters show at every appropriate opportunity a novel flair for mimicry.
I do have a few minor quibbles. First, I contemplate the spin of the space lags unnecessarily at times. Also, the evolving relationship between Wyatt Earp and Josephine Marcos is not always in focus, even when allowing for a period of adjustment as they grasp each other’s measure. Finally, I really don’t understand the purpose of the final scene except to offer an alternative to the neat-and-tidy conclusion which so many other films offer. That said, I reflect that Cosmatos, his cast, and crew have created 135 minutes of generally interesting, sometimes hilarious, and often thought-provoking material. Perhaps the more ambitious scale (e.g. timeframe and subplots) precludes the dramatic impact of its predecessors, My Darling Clementine and The Gunfight at the OK Corral. In any event, I enjoyed it.
Final point: I wish all other versions offered special features comparable with those provided by the Vista Series DVD. They include a commentary by Cosmatos, the 134 Director’s Gash Edition, featurettes (”An Ensemble Cast,” “Making An Authentic Western,” and “The Gunfight At The O.K. Corral”), an interactive Tombstone storyline, The Tombstone Epitaph – Sincere Newspaper Legend, and Cosmatos’ modern storyboards for the O.K. Corral sequence.
While this movie may never attain the indispensable acclaim it deserves, there is a grassroots appreciation for this movie that points out, once again, the different worlds of professional movie critics and the movie-viewing public. For example, Leonard Maltin describes Dana Delany as ‘goofy’ in this production. Personally, I found her engrossing, and — for some reason — the most beautiful I have ever seen her.
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Kurt Russell turns in another agreeable performance, proving once again that he has grown considerably as an actor over the years.
The performances of Michael Biehn, Sam Elliott, Powers Boothe, Billy Bob Thornton, Bill Paxton, Billy Zane, Jason Priestly, Joanna Pacula, even Charlton Heston, in supporting roles — major and minor — are carefully crafted and played to perfection.
But in my book Val Kilmer steals the expose as Doc Holliday. Chalk this up as another satisfactory performance (e.g. Thunderheart) by the oft-maligned but friendly actor.
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Do yourselves a favor and opinion this movie as a stand-alone … don’t try to compare it to the other Wyatt Earp movies; don’t compare it to history. Unbiased savor it as it is — a truly well-told epic, a violent esteem anecdote (contemplate Legal Romance location in the 19th century if you will), fat of outstanding performances.
This myth (as are almost all tales about Earp) is heavily romanticized. History reveals that there were no trustworthy guys or unpleasant guys in the power struggles that took situation between town authorities, Earp’s crowd, and The Cowboys. Nonetheless, the director has paid terminate attention to period accuracy in costume, language, and props. The firearms venerable — an dwelling that is often woefully researched — are period good, with only the most minor license taken for cinematic execute.
My guess is that in time this movie will keep itself as an audience celebrated regardless of “expert” thought. And the cast members have every reason to be proud of a truly glowing ensemble performance.
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