Alec B
Another one of those movies that just wasn't deserving of the vitriol it received upon release. I think that people fail to realize that the point that Cox was trying to make was how even though the methods of war and technology have changed, we still justify expansion and intervention with the same old ideas that continue to fail (hence why the anachronistic items and references continue to mount throughout the movie).
Rated 4/5 Stars •
Rated 4 out of 5 stars
10/13/23
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Audience Member
Misunderstood work of art.
Rated 5/5 Stars •
Rated 5 out of 5 stars
04/04/23
Full Review
Taylor L
"All you have to remember is that our cause is a righteous one."
Seldom has a film ever destroyed a filmmaker's career so immediately and thoroughly as Walker did to Alex Cox; for some idea of how significant the backlash was, both Siskel and Ebert gave this film zero star reviews independently, and Cox himself (still active as a director and educator) hasn't been affiliated with a major studio production since its release.
The film takes on a particularly interesting historical subject - William Walker, the 19th century American mercenary, renaissance man, and practitioner of manifest destiny. Instead of a fastidious retelling of historical fact, Cox instead opts for a loose interpretation of the biography supplemented with a series of explicit anachronisms intended to highlight parallels to more modern American policies south of the border (particularly the penchant for political interference for the benefit of private interests). Walker becomes the embodiment of American imperialism, a mishmash of vague idealistic goals, arrogance, self-interest, corporate influence, and respectability thinly covering base desires. Walker's devolution from nominally educated, practically clueless, and uniformly unsympathetic to overseer of a brutal takeover is full of plenty of on-the-nose allegorical moments designed to consistently reinforce criticisms of American 'shoot-first' policy, but it's also got quite a bit of self-awareness and humor, as well as a creative and slightly unhinged performance from Ed Harris.
To be released by a major American studio in the Reagan years while focusing explicitly on (and being shot in) Nicaragua while Iran-Contra was in full swing, it's easy to see why there was considerable backlash by some that saw the film's surreal condemnation of the less palatable elements of American policy and culture as an attack on America as a whole. (3/5)
Rated 3/5 Stars •
Rated 3 out of 5 stars
08/29/22
Full Review
matthew d
A brave and bold biopic like nothing you've ever seen.
Director Alex Cox' historical Western drama Walker (1987) takes on William Walker and American patriotism with a righteous indignation. Famously one of the angriest movies ever made, Cox' direction is striking as Walker critiques overly zealous American patriotism that allows Americans to pursue Imperialism and violence in sovereign nations. Cox delivers a dreamily and often surreal directed film that is both funny in how absurd this true story is as well as engaging during these shocking events of William Walker's life you have to see to believe.
I appreciate Cox' anachronisms to shove you into the reality that President Ronald Reagan was committing the same bloody invasion of Nicaragua for business expansion and war profiteering in the name of American patriotism. Walker is one of humanity's greatest pictures with its searing satire and hilarious absurdity, while also portraying the raw brutality of Walker's violence reign of terror.
There's a genuine criticism from writer Rudy Wurlitzer that Manifest Destiny was a false idol as Americans thought God empowered and protected them to push West into Native lands and invade independent countries to force democracy, Christianity, and American nationalism across the globe. Wurlitzer's writing is so sharp, funny, and scathing as he understands how Walker's mania for imperialism and God lend to his brutal dictatorship and inevitable downfall. It's truly incredible that director Alex Cox convinced producer Lorenzo O'Brien to give him a huge production budget to film his raging progressive Western. It feels like the polar opposite to John Wayne's ultra patriotic Westerns with their conservative ideals.
Ed Harris' mad wide blue eyes are captivating. His raving religious speeches lean into American devotion to Christianity and lose all sanity with his nationalist patriotism he brings with him everywhere he ventures. Harris starts out as a war tactician of sorts with impressive fast sign language skills. Then his devastating performance becomes haunting as Walker goes mad with power. Ed Harris gives the greatest performance of his career as he's basically a Fitzcarraldo type character with his monstrous villain William Walker.
Peter Boyle's boisterous opportunist Vanderbilt is entertaining and unsettling. Richard Masur's disgusting aristocrat uses patriotism as an excuse to invade other nations for American business expansion at great cost of life. René Auberjonois' German tactician is fun, especially as he sees what a madman Walker is at heart. Keith Szarabajka's Timothy sees through Walker's big words into his insane conquest of Nicaragua. Sy Richardson's violent Captain Hornsby goes from loyal follower of Walker to realizing his folly when Walker wants to bring slavery to Central America. Marlee Matlin is so fierce with her words and performance even while deaf and signing her lines passionately.
Editors Carlos Puente and Alex Cox cut Walker into a swiftly paced and short 94 minutes for an entire biopic. They use every minute to depict Walker's brooding madness and vicious cruelty as he reintroduces slavery and kills civilians with reckless abandon. Their editing style holds a transcendent surrealism with long drawn out scenes that get increasingly strange and horrifying. I appreciate the real news clips of Reagan's invasion of Central America as a mini documentary for emphasis of Walker's strong message.
David Bridges' cinematography uses all these impressive wide shots for every battle and show of soldiers ravaging towns in Central America. Bruno Rubeo's realistic sets make his production design so captivating. Every home looks lived in and all the capital buildings look triumphant. Art direction from Cecilia Montiel and Jorge Sainz leans into the bloody violence of Walker and his roving mercenary army. Bryce Perrin and Suzie Frischette's lavish set decoration provides many antiques and cool props.
Composer Joe Strummer of The Clash brings a serene and haunting score for Walker. His gentle piano melody for Walker's theme "Brooding Six" is stunning and one of cinema's greatest pieces of music. Strummer's lovely score for Walker offsets the brutal violence on screen with a striking sonic juxtaposition to Cox' daring visuals. When Strummer's song "The Brooding Side of Madness" plays during the chaos, my jaw dropped. The eerie chants of "Walker!" within the background of his score is a nice touch. There's bossa nova, flamenco, and mariachi style music in here alongside Strummer's creepier notes. Strummer goes for spacious Western themes with a surprising Spanish influence for his guitar work and mesmerizing piano leads.
Costume designers Theda DeRamus and Pam Tait's all black coat and suits for Walker are iconic and really stylish. I loved Marlee's dresses with their lace and flowing gown fabrics. Make-up artists Morag Ross and Susan Mills give Marlee a lovely faint glow with radiant aesthetics. I like how stark Ed Harris' face looks with his pale face that brings out his crazed blue eyes.
In all, Walker demands to be seen as an inspired progressive Western feeling biopic. Truly all biopics should strive for the fresh perspective on their subject's life like Walker.
Rated 5/5 Stars •
Rated 5 out of 5 stars
03/31/23
Full Review
Audience Member
Director Alex Cox (famous for Repo Man, 1984, and Sid and Nancy, 1986), here takes a stab at a historical biopic of William Walker, an American "Filibuster" who became the self-appointed President of Nicaragua in 1856. Of course, Cox's focus on Nicaragua was no accident, given Ronald Reagan's then-current efforts to undermine the Sandinistas by providing (illegal) aid to the anti-government "Contras". However, Cox clearly did not set out to make a serious film, instead presenting Walker's time in Nicaragua (after an earlier, very bloody, foray in Mexico) as almost comic chaos, with cartoonish violence and anachronistic dialogue and props (from the 1980s, not the 1850's). Ed Harris plays Walker serene and very nearly straight but with just a tinge of lunacy that starts to manifest in his decisions (to legalise slavery, to burn the town of Granada, etc.). In fact, a quick look at Wikipedia suggests that Rudy Wurlitzer's script has stayed very close to the facts of Walker's life and exploits (and ultimate death by firing squad). But, as I said, this is not a reverential treatment (nor should it be, given the imperialistic and inhumane actions of the "hero") - only as the final credits scrawl do we get reminded of the current US actions in Nicaragua, underscoring the otherwise implicit statement being made. After the film flopped, Cox found that he was never again able to make a movie with Hollywood backing. Yet his subversive approach here might be the best way to present the horrors of history, keeping you laughing in order to stop you from crying. But the take-home points still get through.
Rated 3.5/5 Stars •
Rated 3.5 out of 5 stars
02/04/23
Full Review
Audience Member
for the serious historian only....has ed harris ever made a movie set in the present?
Rated 2/5 Stars •
Rated 2 out of 5 stars
01/31/23
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