The 5 Best Westerns You’ve Never Seen

Who doesn’t love a good Western? The wide-open, lawless expanse of the mythical West is the perfect backdrop for stories of heroism, betrayal, and windswept romance. Perhaps more than any other film, a  Western is made of symbols: the thump of boots on a dusty boardwalk, the showdown at high noon, the gleam of a Peacemaker as it’s yanked from a holster. These symbols are so evocative that they allow for laziness, and there are plenty of uninspired, paint-by-numbers to prove it.

There are, of course, numerous and oft-mentioned examples of Westerns done right, from Sergio Leone’s Spaghetti Westerns to Clint Eastwood’s Oscar-winning Unforgiven  – but I won’t discuss these here. The purpose of this list is to introduce a handful of quality Westerns that have gone relatively unnoticed, and to prove that the committed cinephile can still strike gold on the Western frontier.

5. Silverado (1985)

Silverado is the kind of film that doesn’t do anything particularly unique, but stands out because of its energy and charm. Writer/director Lawrence Kasdan imbues Silverado with a sense of adventure reminiscent of some of his other films: The Empire Strikes Back and Raiders of the Lost Ark. There’s an earnestness about Silverado that all but the most cynical will find appealing. The good guys are good, the villains are slimy, and the action is plentiful and well-mounted.

The film also boasts an excellent cast featuring Kevin Cline, Brian Dennehy, Jeff Goldblum, Kevin Costner, and Danny Glover. John Cleese even makes an appearance as a sheriff who’s “not from around these parts.” Often a large, A-list cast can fragment a film, but Kasdan does an excellent job weaving each character’s story line into a cohesive whole. Silverado is popcorn filmmaking at its finest – straightforward, lovingly made and enjoyable from start to finish.

4. Appaloosa (2008)

Appaloosa is old-fashioned in the best sense. The plot, at least in the beginning, looks like orthodox Western fare: the small town of Appaloosa, New Mexico is being terrorized by Randall Bragg (played by a typically sinister Jeremy Irons) and it’s up to lawmen Virgil Cole and Everett Hitch (Ed Harris and Viggo Mortensen respectively) to save the day. The setup felt awfully familiar, but Appaloosa managed to surprise me.

There are plenty of classic Western moments – most notably one intense and chaotic gunfight – but there’s also a surprisingly well-rendered and complex love story with a secretly promiscuous widow played by Renée Zellweger. A token love-interest isn’t an uncommon find in the genre, but the interplay between Harris and Zellweger – and maybe one or two other characters (mind that promiscuity!) – is integral to the plot rather than being a mere accessory to it. Appaloosa’s excellent cast and focus on character makes it well worth a watch.

3. The Assassination of Jesse James by the Coward

Robert Ford (2007)

Let’s get this out of the way – The Assassination of Jesse James by the Coward Robert Ford was one of the most visually stunning films I’ve ever seen. Roger Deakins‘ cinematography is second to none. In addition to rich coloring and careful framing of his shots, Deakins also employed some unique techniques to establish the singular look of the film. In many shots, Deakins mounted antique, wide-angle lenses on his cameras to mimic the blurred edges and “vignetting” effect of early photographs. The effect gives the film a strange, almost otherworldly vibe.

Before I go any further, take a second to appreciate one of The Assassination’s most haunting scenes by clicking the link – A train holdup by lantern light.

The Assassination is much more than a cinematographic highlight-reel. Brad Pitt is excellent as the famous outlaw Jesse James, but the real star of the film is Casey Affleck. His character is pathetic, flawed, and vividly portrayed. His tenuous and complex relationship with James serves as a vehicle for some of the film’s major themes: the link between crime and fame and our dangerous obsession with celebrity. The Assassination is at once a great Western, an important philosophical meditation, and a brilliant piece of visual art.

2. The Proposition (2005)

Be warned: The Proposition is not for the squeamish. Set in the harsh Australian outback, it tells the brutal tale of outlaw Charlie Burns (Guy Pearce). Following a gunfight that wipes out most of their gang, Burns and his younger brother Mikey (Richard Wilson) are captured by the hard-nosed Captain Stanley (Ray Winstone). In custody and charged with numerous crimes, Burns is presented with a horrible proposition: if he can find and kill his psychopathic older brother (Danny Huston) within nine days, he’ll go free. If he fails, Stanley will hang Mikey from the gallows on Christmas day. Almost every Western has some sort of violent element, but The Proposition is in a category all its own – violence, and the threat of violence, are not only abundant, but central to the film’s premise. It’s oppressive and occasionally overwhelming, but never gratuitous. Despite the constant brutality, there are moments of beauty, often involving the contrast between human savagery and the austere beauty of the Australian landscape (brilliantly captured by cinematographer Benoît Delhomme).

One of the most powerful sequences in the film, in which a scene of intense torture is hauntingly juxtaposed with the performance of a folk song, is built upon this same contrast between beauty and brutality. The Proposition proves that great Westerns aren’t limited to the American west. The exploration of the nature and ultimate futility of violence is harrowing, but makes the film must-see for serious cinema fans.

1. Dead Man

Does the phrase “Post-modern Western” make any sense to you? The term may come into focus after you watch Jim Jarmusch‘s critically acclaimed Dead Man. Like many of Jarmusch‘s films, Dead Man is dense, whimsical, and sometimes surreal. It tells the story of William Blake (Johnny Depp), an Ohio accountant who heads west to take a job in a frontier factory town. When he arrives to find the position has already been filled, Blake begins a strange and meandering journey in which he invokes the wrath of industrialist, John Dickinson (Robert Mitchum in his final role), flees from a band of hired killers, and meets Nobody (Gary Farmer), a well-read Native American who believes Blake to be the reincarnation of his poetic namesake.

The chemistry between Depp and Farmer provides a central anchor for a story that is otherwise odd and wandering. Dead Man‘s protagonist allows Jarmusch to approach the genre from a fresh angle. Blake isn’t a hardened ranch-hand or nameless gunman, but an Eastern pencil-pusher who is completely unprepared for odd and frenzied life on the frontier. His only friend is an American Indian, and the film is notable for its carefully researched depiction of the cultures of multiple Native American tribes. It’s this “outsider” viewpoint which makes Dead Man such an interesting film, and raises questions about the cost of “winning the West.”  Dead Man’s meandering structure and surreal elements can be alienating to some, but its fresh and unique voice makes it required viewing.

From the traditional western adventure to frontier art-house, these five films show that Westerns can be more than simple genre checklists. Take the time to reinvigorate your love of the Western, or don some spurs and head into the frontier for the first time. Happy trails, Partner.

What are some of your favorite Westerns? Would you like to see more Westerns at the box office?