Wonderful Westerns: ‘High Plains Drifter’ (1973)

I was going to hold off on reviewing this film until Halloween because this is one of the  few ’60s/’70s movies that could be called a horror-Western (that I know of, at least). But I’ve decided to go ahead and talk about this movie for two reasons: one, this was the first Western directed by Clint Eastwood, and two, this film features a terrific performance from Geoffrey Lewis, who passed away on April 7.

WARNING: This review will contain spoilers to the film. You are warned.

In my last article, I spotlighted a Western that could be categorized as a very traditional one. In The Magnificent Seven, the lines between good and bad could be easily drawn. But with the 1973 film High Plains Drifter, that line is almost nowhere to be seen. This is about as far away from a traditional Western as you can get, but that’s what makes it a great film.

Now, the plot for this motion picture sounds very basic on paper. From IMDB.com: “A gunfighting Stranger (Clint Eastwood) comes to the small settlement of Lago and is hired to bring the townsfolk together in an attempt to hold off three outlaws who are on their way.” Sounds almost like the plot to The Magnificent Seven in a way, but the events that unfold are very different than one would expect.

Unsurprisingly, this film gives its viewers a good first taste of Eastwood’s views on the Old West. His version of the Pecos is almost the exact opposite of John Wayne’s version — matter of fact,  it was because of this film that the Duke showed disdain towards Eastwood. “That isn’t what the West was all about,” Wayne said. “That isn’t the American people who settled this country.” Now, of course I’m a fan of many of John Wayne’s Westerns, but really it’s obvious that things were changing in the film world.

When I call this a horror film, I don’t mean in a slasher or monster movie sort of scary; this movie relies a lot on its atmosphere and has a vague supernatural level. The first big hint about the supernatural elements comes when Eastwood’s Stranger fades in at the beginning as he rides towards the town of Lago, which is also how he departs in the movie. As he rides in and out, there’s an eerie film score playing, composed by big-band musician Dee Barton, which establishes a rather unsettling feel.

That unsettling feeling in the film stems from both Eastwood’s character, who’s far from the traditional Western hero, and from the town itself. Practically everyone is corrupt, cowardly, and despicable — at best, they’re just pitiful. Which can definitely be interpreted as a form of commentary towards many aspects of society. The only people that seems to be in the Stranger’s good graces are Mordecai (Billy Curtis), a dwarf citizen who’s picked on by numerous citizens, the local hotel owner’s wife (Verna Bloom), and a few of the area’s natives.

A lot of the eeriness is emphasized by intense heat which makes practically everyone in town sweat profusely, which could be symbolic of their inner guilt. The town is even later painted red and renamed Hell by the Stranger. The citizens probably think of this as way to scare off the arriving outlaws, but my guess is that this is the Stranger’s way of condemning them.

Another notable performance is the late Geoffrey Lewis’ portayal of lead outlaw Stacey Bridges. Bridges isn’t on screen that much, but every time he is, he thoroughly displays a mean streak that as big as Monument Valley. Lewis was a great character actor who starred in many films and brought the same charisma and talent to every role. He will be missed greatly.

There are several theories as to what or who Eastwood’s character is: Is he the ghost of the town’s marshal who was whipped to death not too long ago? Is he the Marshal’s avenging brother? Is he a random stranger who’s just messing with people? The closest we get to an answer  is at the end when Mordecai, one of the few people the Stranger actually trusts, says, “I never did get your name.” To which the Stranger replies with, “Yes, you do.” Mordecai gives him a salute and the last shot before Eastwood riding out is of the grave Mordecai was working on that reads, “Marshal Jim Duncan. Rest in Peace.”

Eastwood’s character is about as big an anti-hero as you can get. This guy does things that will make you say to yourself, “This guy is the hero, right?” But it’s those boundary-pushing, question-asking moments that make it such an intriguing film that should be admired and studied. A lot of that credit should go to Eastwood’s directing, but also to the script from Oscar-winning writer Ernest Tidyman, who also wrote the screenplays for The French Connection and Shaft. Yes, that Shaft.

High Plains Drifter is a Western that will give you chills and raise questions about the plot and what’s possible for the Western genre. Check it out, especially around Halloween.

Wonderful Westerns strives to shine a light on the genre and its gems and bring a new appreciation for films primarily released in the 1960s and 1970s.

John Hamilton

John Hamilton is a lover of classic cinema from Southern Ohio and has been since he was a tiny little lad growing up on the farm. He's a fan of every type of film out there, especially Westerns and movies from the '60s and '70s. John is also a blogger and freelance writer.