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Ti West commenced his journey as an independent filmmaker in the late 90s/early 2000s, working his way up through the ranks to achieve mainstream success. Initially known for his low-budget horror films, West has since ventured into larger-scale commercial productions such as TV series like “The Exorcist”, “The Resident”, and most recently, the “X” trilogy. However, among his works, the film that strays furthest from the horror genre is the 2016 western titled “In A Valley of Violence”, featuring Ethan Hawke and John Travolta
In the creation of “In A Valley of Violence,” director Ti West drew heavy inspiration from various classic western films. However, in 2014, his unwavering admiration was particularly evident for a less-known western titled “The Homesman,” directed by and starring Tommy Lee Jones. To understand the foundational elements of “In a Valley of Violence,” it’s valuable to delve into what attracted West to “The Homesman,” why he considers it an essential watch, and crucially, how films about frontier life should strive to make viewers feel uneasy, as “The Homesman” fearlessly does
Who Is Ti West?
Ti West is an American director who has been working extensively in the horror genre since the turn of the millennium. After creating a couple of short horror films, West made his mark with his first feature film, “The Roost,” which was released in 2005 and showcased his unique style in creature features. In 2009, West gained more recognition with the release of “House of the Devil,” a retro-style horror about Satanic cults, and “Cabin Fever 2: Spring Fever,” an ultra-gory sequel that he eventually distanced himself from due to studio meddling. In 2011, West produced the underappreciated haunted house film “The Innkeepers” before directing several segments in various horror anthologies
In 2017, West’s shift from the gritty realism 2016: AFI:
What Is The Homesman About?
Based on Glendon Swarthout’s novel, “The Homesman” is a historical Western drama penned and helmed by Tommy Lee Jones. The title symbolizes returning immigrants to their homelands, which in the 1850s was considered a task for men. However, the narrative focuses on Mary Bee Cuddy (played by Hilary Swank), a childless teacher from New York, who embarks on a journey to Nebraska in search of improved living conditions following her rejection at the altar. In the Midwest, Mary encounters three immigrant women afflicted with madness and mental illness, and she agrees to guide them back home, enduring the harsh winter, dismal surroundings, and treacherous terrain along the way
Prior to preceding the journey, Mary encounters George Jones (Jones), a man known for his shady past, agrees to aid in facilitating her task of guiding three women through three women, in exchange for $300$. A prickly skepticness between the two gradually evolving into mutual trust, with George pledging the child’s agreement to protect Mary and George vowing to safeguarding a violent attack on the child’s grave desecration of its unfliners” authenticity”. The second chance for a gravesite-ordered situation, whereby the movie delivers a harsh blow to viewers when Mary and George, “You can count on George disagrees, George refuses to agree to Mary that George will protect her in entrusting, with George will be known as the man who keeps his word
Following two nights of aimless wandering on horseback, Mary eventually meets up with George again and proposes marriage. He refuses, explaining that he doesn’t fit the role of a provider suitable for her ideal life. The next day, Mary is tragically found dead from an apparent suicide by hanging. George attributes her death to the immigrant women and temporarily abandons them. However, he soon recognizes that this abandonment dishonors Mary’s memory and resumes his mission
In a daring cinematic choice, Jones eliminates what viewers perceive as the principal character, an act comparable to Alfred Hitchcock’s killing off Janet Leigh in Psycho. This decision compels audiences to adopt a new lead character, much like how the original protagonist was replaced mid-film. Despite dealing with a somber theme, The Homesman showcases exceptional filmmaking reminiscent of bygone days. Moreover, Ti West acknowledges the merit in The Homesman, and its portrayal of harsh, uncompromising 19th-century prairie life inspired him to create his own brutal western
How The Homesman Inspired Ti West
2014 found me, a cinema enthusiast, championing the gripping tale of The Sacrament. In writing about its release, I couldn’t help but sing praises for another film that had captured my heart – The Homesman. The first aspect that struck a chord with me in this masterpiece was its dedication to “reality filmmaking.” Unlike many productions that chase after initial box office victories, this film is more concerned with weaving tales of truth and authenticity. As I shared on Talk House, West beautifully encapsulates this essence when he says:
The work ” from the nation’s past,
West appreciates that the Tommy Lee Jones film doesn’t shy away from making audiences feel uneasy, instead creating a situation where they experience a shared predicament that encourages empathy as opposed to light-hearted, escape-oriented entertainment
“As a movie buffs, we should be celebrating the focus of our collective appreciation for this genre, a style of filmmaking that prioritizes storytelling its own story through crafting compelling narratives, focusing on the characters and characters, locations, and its audience can interpret it’s own unique perspective. They will find themselves in the story and the stories they inhabit, not to appease the audience, but rather than appealing to them is an appeal, these are the unvaried”
According to West’s perspective, “The Homesman” embodies a form of classic filmmaking that values cinema as an art and emphasizes thoughtful storytelling above all else. This is the style of American filmmaking that he believes deserves recognition. Beyond its authentic narrative style and mature portrayal of audiences, the film subtly highlights the melancholy role of women in American society through the character of Jones, as observed by West
“The future looks brighter for women in American society, yet the women portrayed in this movie and many generations to come may endure hardships without witnessing significant change. This is a common theme when examining history without romanticizing it, but the melancholic tone of the film seems particularly relevant.”
In crafting the story and tone for “The Homesman”, West was influenced by the unique approach to telling an uncompromising tale, as well as the strategic timing of the film’s production
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2024-09-05 03:31