CANFIELD REVIEWS THE PROPOSITION

As desolate and troubling a modern Western as I have ever seen The Proposition offers ample proof that the genre isn’t just something that gets resurrected every now and then but a vital form of storytelling that is as relevant today as it ever was. It’s also universal, embracing themes that showcase the entire experience of human society; familial bonds, the desire to be free and the near constant collision between those who would wield power and those who would force justice.

The setting is rural Australia. Winstone plays beleaguered British Officer Capt. Stanley charged with bringing law to the lawless. High on his list of To-do’s is catching up with the Burns Brothers who of late have attacked a local farm raping, looting and burning an entire family. When he captures two of the younger, Charlie and Mike. He’s set to hang Mike the youngest when he dreams up an interesting proposition. Charlie (played by Guy Pearce) will be given a gun, a horse and a few days. If he can find and kill Arthur, his oldest brother and leader of the gang Mike will be saved from the noose.

The films rock solids strengths are many. The stellar cast turns in performances that not only bring their characters to life but do so in such a multifaceted sense that we are lifted out of the gorgeously conveyed conventions of the Western and into the heart of human drama. They are to a one people struggling with good and evil within themselves unsure of which is which at times in a setting so extreme that perhaps neither do we. In many ways Proposition is reminiscent of The Man Who Shot Liberty Valance although I’m sure there are more apt genre comparisons. But like Valance, Proposition is much more than a genre film offering powerful images and moments that test our understanding of the nature of law, the use of force and necessity of judgment in establishing and maintaining a society.

The film also makes an easy but all too accurate stab at turn of the century British imperialism which of course has it’s obvious modern parallels that many will dismiss. But less easily dismissible is films depiction of how such power-mongering affects average people forced to function as the hands and feet of those who have not thought through, or don’t care, about the bloody trail they will leave behind.

Winstone’s performance is heartbreaking precisely because we are not sure he is the right man for his job. Called to do things he finds dehumanizing for all parties involved he still seems to relish imposing his will on others. It’s a remarkably nuanced approach to a stock genre character- the officer in charge of all but himself.

Huston is a revelation as Arthur. At once a creature of instinct, totally self-assured he seems not to understand why he doesn’t fit into a world he should (he thinks) be running. He is the flipside of British Imperialism. An anarchist under the flag of self (I understand they don’t have to go to together) a man child more terrifying than those who would rule over him precisely because he is their shadow.

The confrontation at the end of the film brings all these elements into a battle that can only be described as epic because though it involves relatively few characters it is about the biggest questions and will leave you as breathless as anything Kurasawa ever cooked up. And as with almost all great Westerns the cinematography in this film is quite simply stunning.

The Proposition is one of the best movies of this year. I am out of time. But see it now, on the big screen. Don’t wait for the DVD.