A FILM REVIEW OF ''THE HIGHWAYMEN" (2019)

"Blind Side" director John Lee Hancock's authentic, Depression Era, road-trip, manhunt thriller "The Highwaymen," (*** OUT OF ****) co-starring Oscar-winning actor Kevin Costner and Oscar-nominated Woody Harrelson, serves as the flip side of the classic Warner Brothers' gangster epic "Bonnie & Clyde" (1967), with Faye Dunaway and Warren Beatty. Told from the perspective of the two seasoned manhunters who tracked down the bloodthirsty young Texas couple, "The Highwaymen" confines their quarry Bonnie & Clyde to the periphery of the mayhem, out-of-the-limelight, depicting them in either far-off shots or close-ups, so audiences cannot sympathize with these trigger-happy desperados who had gunned down policemen without a qualm. "Young Guns" scenarist John Fusco has provided far more history about this pugnacious pair in this Netflix movie than its celebrated theatrical predecessor. Often, when we see Bonnie, we are given only glimpses of her feet encased in ruby red shoes. She walks with a limp that she acquired after Clyde drove off a bridge under construction when he missed a detour. This mishap injured Bonnie so severely that she resorted to laudanum, a concoction of opium and alcohol, to relieve the agony until she died in May 1934 in a hail of gunfire from two former Texas Rangers--Frank Hamer and Manny Gault--along with a posse in Bienville Parish, Louisiana. Throughout this chronicle of their pursuit, Hamer and Gault were amazed by the relative lack of height of the two criminals in comparison to the media attention that transformed them into titanic celebrities during what was termed 'the Public Enemy era' between 1931 and 1934. In the final scene, Hancock gives us a lingering glance of the two felons, looking like two clean-scrubbed, fashionably attired cherubs, with an arsenal of firearms at their fingertips.

As depicted in "The Highwaymen," the beginning of the end for the notorious duo started with a prison breakout that Bonnie & Clyde orchestrated to free accomplices from the Texas-based Eastham Prison Farm in 1934. Warden Lee Simmons (John Carroll Lynch of "Shutter Island") of the Texas Department of Corrections got the green light from Governor Miriam "Ma" Ferguson (Kathy Bates of "Primary Colors") to hire Hamer to stop the crime spree of these two twentysomething renegades. Privately, Ferguson had nothing but contempt for the Texas Rangers, recently disbanded under a cloud of corruption, and warned her own duly appointed constabulary that they would face repercussions if the two former Rangers nabbed Bonnie & Clyde. Frank Hamer (Kevin Costner of "Dances with Wolves") comes out of retirement and accepts Simmons' offer despite the misgivings of his socialite wife. Hamer chooses an old friend and former Texas Ranger Benjamin Maney Gault (Woody Harrelson of "Natural Born Killers") to accompany him. Neither Hamer nor Gault is in good enough shape to chase a teenager around the block near Bonnie's mother's house. Hamer hasn't fired his revolver in such a long time that he cannot obliterate bottles with bullets. While immaculately dressed officers of the state of Texas as well as the FBI rely on the latest modern crime-fighting technology to pursue the elusive Bonnie & Clyde, Hamer counts on his frontier savvy about human nature and maps charting the couple's whereabouts to ferret them out. Comparatively, this evokes memories of the turn-of-the-century John Wayne western "Big Jake" (1971) where Wayne tracked down the dastards who kidnapped his grandson, while law enforcement handicapped by modern technology could do little despite their apparent advantages over him. Ultimately, Hamer and Gault put everybody, including FBI with their aerial searches, to shame. Essentially, our heroes qualify as underdogs who manage to triumph despite incredible odds to stop the Barrow gang.

Mind you, "The Highwaymen" certainly isn't the most exciting manhunt melodrama. At times, the going is mighty slow because Hamer and Gault painstakingly gather clues and develop leads based on their bloodhound instincts. Although most of the action involves Hamer and Gault, they have few encounters with Bonnie & Clyde until the finale. The scene that highlights best what our heroes must contend with occurs when they tail Bonnie & Clyde out of a town and then lose them in the middle of nowhere. Clyde careens off the highway into a barren field and swerves in circles around Hamer and Gault. Clyde churns up a blinding dust storm and loses the two Texas Rangers. Eventually, after he learns that the felons are cruising off for 'greener pastures,' Hamer decides to pursue them into Louisiana where the authorities have issued no warrants for their arrest. During the manhunt, Gault agonizes about his ability to shoot a woman. Later, they learn Bonnie Parker has been as just as cold-blooded and homicidal as Clyde. This is a far cry from the vintage Warner Brothers movie. Hamer follows a lead involving one of Clyde's accomplices in Louisiana. He cuts a deal with the father of one of Clyde's cronies that culminates in the inevitable ambush of the twosome. The posse catch Bonnie & Clyde as they approach their accomplice's father who is seeking roadside assistance. Reportedly, in real life, the posse poured so many volleys of gunfire into the couple that the barrage deafened them.

Clocking in at two hours and twelve minutes, "The Highwaymen" aims for the older demographic that loved "Unforgiven." Nevertheless, it ranks far above anything that Costner has made in many moons. Costner and Harrelson lend their considerable gravitas to Hancock's authentic looking film. The $49-million production does a commendable job of recreating the utter despair and destitution suffered by too many people during the Great Depression. Some critics and historians have accused Hamer of overstepping his authority after he shadowed Bonnie & Clyde into Louisiana, and he could have taken them alive. Hancock and Fusco show that Hamer was prepared to do whatever was necessary to kill the couple. Despite its impressive adherence to history, "The Highwaymen" will always lay in the shadow of the Oscar-winning Warner Brothers' classic, but it does provide greater insight into Bonnie & Clyde.

FILM REVIEW OF "3:10 TO YUMA" (1957)

"Destination Tokyo" director Delmar Daves' "3:10 to Yuma" (1957) qualifies as one of the classic suspense westerns of the 1950s. Furthermore, in the larger context of westerns, this frontier drama follows in the boot falls of "High Noon" since it concerns a showdown between hero and villain based on a time deadline. Everything about this oater is solid and realistic with strong acting by a competent cast. Composer George Duning's haunting score heightens the tension in scenarist Halsted Welles' spartan screenplay. Welles' also penned another big western "The Hanging Tree" (1959) with Gary Cooper. Welles does an exceptional job of capturing the ironic essence of Leonard's short story, the first of the bestselling author's work to reach the big-screen.

"3:10 to Yuma" opens with a close-up of parched earth somewhere in the Arizona territory. The camera tilts up to show a stagecoach crossing the landscape in long shot and then the stage swings around toward the camera and its galloping six-horse team hauls the vehicle past the camera trailing a plume of dust. Daves concisely establishes in this one take the inhospitable nature of the surroundings. One of the themes is then man versus nature. Later, we learn that a drought has devastated the area. Seasoned lyricist Ned Washington's words--as sung by vocalist Frankie Lane at his most doleful--enhances this western. An entire sub-genre of sagebrushers emerged in the 1950s that opened with images of horsemen riding through the opening credits with singers such as Frankie Lane or Tex Ritter warbling an atmospheric theme song.

Glenn Ford makes a memorable entrance as ruthless but sardonic outlaw Ben Wade. The notorious Wade gang hold up a stagecoach. During the robbery, the stage driver gets the drop on the Wade gang member atop the coach and shoves a gun into his back. The brave driver threatens to kill the Wade gang member if the outlaws don't cease and desist. No sooner has he delivered his ultimatum than Wade himself rides up and guns down his own man and the stage driver.

The hero of "3:10 to Yuma" is a small potatoes rancher, Dan Evans (Van Heflin of "Shane") who is waging a losing battle against nature for lack of rain. Dan's cattle are dying, and all our hero requires is $200 dollars so he can obtain six months water rights from a nearby rancher. Unfortunately, Dan is dirt poor. Furthermore, he is stubborn and self-reliant and balks at the idea of seeking a loan from the bank. There is nothing flashy about Heflin's performance or wardrobe. Truly, he is a hero behind the 8-ball.

After the Wade gang rob the Butterfield Stage Company of a gold shipment, they gallop brazenly into Bisbee, Arizona Territory, to alert the local constabulary about the hold-up. In the saloon, where they are drinking, they explain that they couldn't thwart the thieves. The marshal (Ford Rainy of "Flaming Star") gathers a posse, but one of them, the town drunk Alex Potter (Henry Jones of "Vertigo"), is late and rides out after the posse has left. Meanwhile, Wade disperses his gang across the border and tells them to rendezvous with him in Nogales. Wade hangs around the saloon to sweet talk young beautiful Emmy (Felicia Farr of "Charlie Varrick") and they get romantic. During this interval, the posse run into Dan and the Butterfield Stage owner. They describe the gang and the marshal realizes then that the cattle drovers back at the saloon were the Wade gang. Alex rides up and tells them that the drovers left town but one of them stayed. The posse heads back to town. Dan distracts Wade in the saloon while the marshal sneaks up behind him and arrests him. The Butterfield Stage owner (Robert Emhardt of "The Stone Killer") offers $200 to anybody that will help escort Wade to the train station for the titular three-ten to Yuma. Initially, Dan refuses but decides that the $200 dollars is worth the risk. Nobody else wants to get in on the money except Henry Potter. For the remainder of the movie, Dan and Wade share the upstairs bridal suite in the hotel while they await the train. Wade's second-in-command Charlie Prince (Richard Jaeckel of "The Dirty Dozen") rides off to prepare a reception for our hero and Wade. Eventually, the gang capture Henry Potter and string him up in the hotel. During the suspenseful wait in the hotel, Ben Wade begins to have a grudging admiration for Dan Evans. When they make dash for the train, Ben actually helps Dan out and they get aboard the train unscathed. Although this ending has been called implausible, I don't think it is anything of the sort. Ben Wade is a dangerous, egotistical killer who has the attitude of a cat playing with a mouse. He is so confident of himself that he plays along with Dan, helps him against his own gang, but ultimately you know that Ben Wade is never going to serve a day in jail. He proved at the beginning that he was willing to kill one of his own men.

"3:10 to Yuma" isn't the first time that Glenn Ford played a villainous killer. He portrayed a corrupt, maniacal judge in "The Man from Colorado," and before that he specialized in bad guys that turned good in westerns, like "Texas" and "The Desperados." Charles Lawton's stark black and white photography combined with striking camera angles that thrust us into the vortex of the action go a long way toward making the action palatable. Eventually, this drama boils down to two men shut up in an upstairs hotel room as they wait for the arrival of the "3:10 to Yuma" train. Daves and Lawton generate a lot of suspense throughout this western but none more tangible than at the end when our hero and villain approach the puffing train and are obscured by clouds of the steam while the outlaw gang stalk them