How loud clocks can tick when a room is empty, and one is alone!
— Amy Lowell, born in 1874
Ride the High Country by Hannah Long
Ride the High Country is a picture at once good enough to launch a visionary career and also form a fitting conclusion to a genre in its twilight years. It’s not a postmodern film, but it gains immense gravitas from the history and biography of its primary players, as well as its own place in cinematic history. Importantly, it doesn’t substitute nostalgia for emotion. Rather, its own deep emotion is intensified by its circumstances, its mixture of styles, and the stature of its cast. This is a story with a revisionist sensibility that believes the virtues of a noble past are real – and inheritable.
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