The Lone Ranger

The Lone Ranger ★★★★½


I wouldn't mind watching The Lone Ranger for fucking eternity because I know for a fact I would never get tired of it. Verbinski borrows handful from the old giants. From Boetticher's subtle cross-cutting to Ford's poetic ruthlessness to Jodorowsky's bleakness to Sturges' genius comedic references, and I even love the brief hint from Jarmusch's Dead Man in the beginning. But the only filmmaker who I wish could see this film is Keaton, whose visual grammar Verbinski pulls off with tenacious and unblemished sensibility. His cinematic approach here is truly unparalleled and unprecedented in contrast to any of the other few remarkable westerns made in 21st century.

Also, I definitely wouldn't have noticed all the similarities between this and Cimino's Heaven's Gate if it weren’t for Mr. Tafoya’s Unloved. Although, I do think both films are different in their own right but when it comes to their contextual relevance, both find a common denominator in the toxic indifference and brutality of white men towards immigrants, and in case of The Lone Ranger; the Native Americans. And of course, both have suffered the same tragedy of being ignored commercially and critically. More or less the film points out quite specifically how often the foundation of progress is laid out with blood and how invariably they become the haunting memories of our past. Ultimately and in simple terms, it’s a tale of the past that predicts future. It’s a tale of vengeance and grief that turns into forgiveness. It's a tale of two lost souls who turn their stubborn spitefulness into a beautiful bond of friendship. It's a tale of guilt that forms into acceptance. It’s a tale of the forgotten land as much as of the people who once lived in it. It’s a tale of the countless possibilities of what could’ve been accomplished or how history would’ve taken its course had it not been for the greed and petulance of the white man. It’s a tale of America.

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