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Young Guns 2 - Film Review

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by PerthKel (subscribe)
I'm a part time actor and part time writer living in Perth. I love being on stage. I love going out with friends, doesn't matter what we do
Published March 13th 2013
Has the fire but lacks depth
To live outside the law, you must be honest .... --Bob Dylan

Lyricism and violence are the two contradictory poles of the American movie Western--the serene land, the wildness of the gun-law life--and in "Young Guns II" a brilliant action director and a fine, deep cast keep us swinging in crazy exhilaration between them. It's a sequel that easily surpasses its original, "Young Guns." Full of sound, gunfire, fury and scorchingly beautiful landscapes--arroyos that explode in dusty death, seedy sun-spattered towns, gnomishly strange outcroppings of rocks and lakes swimming dangerously under wildly steep cliffs.

Dramatically and historically, it's not very deep or rich. There are too many easy modern parallels, but director Geoff Murphy keep churning it into life. Young Guns" is directed by a man who loves Westerns. The mood he is going for, and gets, is the fierce Kurosawa-soaked West of the '70. It's about the revolt of the dispossessed against the rich and smug. The movie is another in an endless line of retellings of the complex legend of Billy the Kid, eternal movie teen-age killer and cattle rustler. For star Emilio Estevez, acting at the top of his form, Billy is a high-spirited kid, a half-psycho rebel with two virtues--defiance of authority and loyalty to his pals--two of whom (Kiefer Sutherland as Doc, Lou Diamond Phillips as Chavez) survive from the original. New chums Christian Slater and Balthazar Getty are there to provide rhymes for Billy's craziness and youth.



Estevez again plays Billy as a giggly prankster with a hair-trigger temper, full of impish bravado, and it's part of the movie's theme that he is entangled in his own legend. Like a young rock star, high on fame, he keeps going over the edge, dragging his buddies with him. The men arrayed against Billy include William Petersen as ex-friend Pat Garrett, Scott Wilson as Gen. Lew Wallace and James Coburn as rancher Chisum. They're steadier, soberer, more cunning, but they keep getting stabbed by Billy's hidden edge: unpredictability. "I sentence you to death, death, death," a judge dourly informs the teen-age outlaw, who jubilantly fires back, "You can go to hell, hell, hell!" (This seemingly archetypal movie exchange comes, allegedly, from life.)

Young Guns" broke off with Billy in savage triumph, busting out of Lincoln County flames after murdering the local sheriff. The sequel follows his downward spiral into death, his upward zoom into legend. And Fusco probably cheats the material by leaving an escape hatch for Billy: framing the story, in flashback, from the viewpoint of Ollie "Brush Billy" Roberts (also Estevez), a man who made a dubious 1950 claim that he was the Kid. It's a bit like ending "Oedipus Rex" with an eye transplant, or "Hamlet" with a family reunion. Like many of the best Westerns, "Young Guns II" sets up an opposition between frontier and civilisation. Like most of the Billy the Kid movies, it comes down hard for the frontier free spirits, Billy and his bunch, and condemns the corrupt, two-faced civilisation of the Wallaces and Chisums.
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Why? A film to get yourself lost in
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