Director Robert Altman spanned great lengths of symbolism to bring audiences a tale of an unlikely pairing in life on the frontier. The tale of "a savior for everyone" lays as a backdrop for the 1971 film. Warren Beatty and Julie Christie join forces to bring a sense of civilization to the town of Presbyterian Church, which has little civilization and no church. A heavy western dealing with themes of isolation and redeemers, McCabe and Mrs. Miller came off a touch thematically weighed down.
Upon his arrival to the town of Presbyterian Church, gambler John McCabe (Warren Beatty) quickly learns that the town of God is nearly God-less, as the church remains under construction. McCabe then designates himself to be the town's savior, the first nod to this enduring theme. He wants to bring his brand of civility to a township that, is, well, lacking. Deciding to build a brothel, McCabe is soon joined in his exploits by Mrs. Miller, a shrewd business-minded woman who seems to believe that she acts as a savior to the girls she "employs". Soon, as their mutual business thrives, so do budding feelings between the entrepreneurs. Competing moral compasses keep McCabe and Mrs. Miller apart, as each walk among the desolate winter scene McCabe traverses reminds the viewer that the only certainty in life is solitude; we enter, and leave this world, alone. Soon, a battle erupts as the business is challenged by corporate interests who have invaded the town. The choice McCabe makes was perhaps the only one he could live with, but it holds desperate consequences for everyone else involved. The forever in solitude, John McCabe was played well by Warren Beatty who was able to execute the competing dualities of McCabe's character, who both wanted to be alone, but also wanted to be loved and needed. Julie Christie plays Mrs. Miller well also as the gruff, shrewd business woman, yet angel to the girls she employed. Personally, I get pulled into a movie's lighting. If the lighting is not right for the mood, the story is not being told properly. The lighting in McCabe and Mrs. Miller was overly dark, which fit the mood well, but was not contrasted enough with brightening during the lighter parts of the film. Another compelling aspect of the film was the cinematography. Shots of trees and mountains slated against the unfruitful harsh winter that was being endured were a true treat to the viewer. The shots were also pivotal to illustrate the deeper themes of the film. There's not much that photographs lonelier than a bare tree in the middle of winter. The audience learns that McCabe is like this tree, alone, yet seeking the cover of its familiarity. The audience eventually starts rooting for McCabe, in hopes that someday find his leaves.
All-in-all, I applaud Robert Altman for providing audiences with such a deep film, and bringing such allegory and theme to the western genre. That being said, it was a little symbolism heavy. The Jesus-like moment in this film was not executed as well as the one in say, Raging Bull (1980), nor was it necessary to prove that theme to the audience. If only the director had more faith in his audience to reach the conclusions he was intending, rather than weighing down the film with so much symbolism, McCabe and Mrs. Miller could have risen to "Classic" status outside of the western genre. We will never know what could have happen, and even though I found the thematic elements over the top, I would recommend this film to any fans of great westerns, or Warren Beatty.
Upon his arrival to the town of Presbyterian Church, gambler John McCabe (Warren Beatty) quickly learns that the town of God is nearly God-less, as the church remains under construction. McCabe then designates himself to be the town's savior, the first nod to this enduring theme. He wants to bring his brand of civility to a township that, is, well, lacking. Deciding to build a brothel, McCabe is soon joined in his exploits by Mrs. Miller, a shrewd business-minded woman who seems to believe that she acts as a savior to the girls she "employs". Soon, as their mutual business thrives, so do budding feelings between the entrepreneurs. Competing moral compasses keep McCabe and Mrs. Miller apart, as each walk among the desolate winter scene McCabe traverses reminds the viewer that the only certainty in life is solitude; we enter, and leave this world, alone. Soon, a battle erupts as the business is challenged by corporate interests who have invaded the town. The choice McCabe makes was perhaps the only one he could live with, but it holds desperate consequences for everyone else involved. The forever in solitude, John McCabe was played well by Warren Beatty who was able to execute the competing dualities of McCabe's character, who both wanted to be alone, but also wanted to be loved and needed. Julie Christie plays Mrs. Miller well also as the gruff, shrewd business woman, yet angel to the girls she employed. Personally, I get pulled into a movie's lighting. If the lighting is not right for the mood, the story is not being told properly. The lighting in McCabe and Mrs. Miller was overly dark, which fit the mood well, but was not contrasted enough with brightening during the lighter parts of the film. Another compelling aspect of the film was the cinematography. Shots of trees and mountains slated against the unfruitful harsh winter that was being endured were a true treat to the viewer. The shots were also pivotal to illustrate the deeper themes of the film. There's not much that photographs lonelier than a bare tree in the middle of winter. The audience learns that McCabe is like this tree, alone, yet seeking the cover of its familiarity. The audience eventually starts rooting for McCabe, in hopes that someday find his leaves.
All-in-all, I applaud Robert Altman for providing audiences with such a deep film, and bringing such allegory and theme to the western genre. That being said, it was a little symbolism heavy. The Jesus-like moment in this film was not executed as well as the one in say, Raging Bull (1980), nor was it necessary to prove that theme to the audience. If only the director had more faith in his audience to reach the conclusions he was intending, rather than weighing down the film with so much symbolism, McCabe and Mrs. Miller could have risen to "Classic" status outside of the western genre. We will never know what could have happen, and even though I found the thematic elements over the top, I would recommend this film to any fans of great westerns, or Warren Beatty.