As an eight-year-old, I watched The Lone Ranger on the early, small TV screen. From the big screen, the “silver” screen, fifty-seven years later, comes Gore Verbinski’s The Lone Ranger starring Johnny Depp as Tonto and Armie Hammer as John Reid, the masked man.
The reviews were right– this is a crazy pieced-together quilt of a film. It is easy to become restless watching it for its lack of a clearly told narrative with a beginning, middle, and end. But looking back on my viewing experience, I feel that this film, a comedy, contained all the humor anybody involved in the making of it could muster. Crew and actors obviously had a great time with this piece. It had plenty of scenes resembling slapstick. “Slapstick” stresses farce (satirical/patently ridiculous events) and horseplay. Believe me, with the white Spirit Horse who communicated truths to Tonto, and launched the career of lawyer John Reid as The Lone Ranger, brother and son of Texas Rangers, you will see plenty of “horseplay.” The white horse told Tonto John was back from the land of spirit and could not be killed.
Johnny Depp, of Edward Scissorhands, Whatever Happened to Gilbert Grape, Pirates of the Caribbean, Chocolate, Nick of Time, and much more, must have had a great time in the role of Tonto. And Armie Hammer must have as well in the role of Lone Ranger. Their vibe was terrific as partners, both reluctant heroes. If not for “Spirit Horse’s” ability to discern a man, a good man, come back from the other side of existence (satire), neither would have had his job of riding for justice and fighting for law and order in the Wild West. Their attempts take place in the early part of the 1900s when railroad barons dreamed of an iron-horse empire. Moreover, the precious metal silver, transported in trainloads of nuggets, is a character in this film. “Silver,” as we who watched the show in the 1950s know, is the horse’s name, given the white Spirit Horse at the end of the film. Comanches and US Cavalry fight in this film. Tonto is long ago an outcast Comanche, a boy who made a fatal error and caused great destruction to his tribe. The raven-carcass headpiece he wears, quite dead (more satire), signifies “spirit.” Tonto feeds it corn kernels. I didn’t get this during the screening, but I came home and wrote down themes, one regarding the raven-carcass headpiece, and now I understand:
A person must feed his/her spirit. At times, the spirit may appear to be dead. Jerk its head up. With consistent feeding, the spirit does cover your thinking.
What follows are a number of other themes that erupted as I continued to think about how such a crazy piece of work could get produced. Thus, you could say I came a bit late to the fan club of the producers’ and director Verbinski’s THE LONE RANGER of 2013.
Themes Treated in the Movie– Even an Indian tribe can term one of its own a mental case. (The Comanches ousted Tonto and laugh at him.)
If someone chooses a partner for self-gain, the choosing partner behaves loyally, looking after the chosen mate. (Tonto has no hope of survival but for the Spirit Man he teams up with.)
Trading objects can solve worry and alleviate uncertainty between two individuals. (Tonto believes this down to his marrow and never fails to give back when he takes, even while holding on under a moving train.)
Nature out of balance can produce cannibalistic rabbits, that same kind of bad, murdering gunslinger, and a cursed silver nugget. (Attack scene by rabbits, and human eating human organ, thankfully off screen)
Truth and justice are more often than not traded for empire building. (Outlaws, those of good spirit, do better for the world than corrupted big-wigs.)
A woman with a big gun determined to shoot straight, living in community with gunslingers, may have lost a leg in the process. (She saved the day with just the right angle on her shooting leg.)
A woman can love two brothers, and timing determines which one she marries. (A tiny touch of romance is included, and the lady is a gentle mother of a young boy.)
A young boy does not know what to do if receiving conflicting instructions (while pointing a gun). To shed increasing tension and avoid a catastrophic wrong choice, he turns and cries out to mama. The child did some good acting.
Stuck in my mind is the strange beginning of this film. We meet a lovely brown-eyed boy dressed in a white hat and black mask. In sharp contrast, he, alone, spectating among the exhibits of a museum of natural history, meets a hugely wrinkled, ancient-looking Indian in a diorama. The diorama is titled “The Noble Savage.” This unexpected approach to the story of the Lone Ranger (you understand the old Indian better at the end), contributes to the montage effect of this film’s style, separate scenes cut apart and strung like diverse beads on a strand of wire.
In addition, the tough-to-look-at early characters in the first filmic images are bad, bad gunslingers with greasy complexions, tarter-tainted teeth, sliced and scarred upper lip, long, unruly scruff, filthy-looking heads of hair, and flasks of whiskey. Later, a couple of them seem to be transvestites. I don’t really get this, so I guess it was one of the many jollies or increasing ironies the producers enjoyed in the making of this pieced-together quilt of a long film (about two and a half hours).
In closing, THE LONE RANGER may have every joke that everyone involved in the work thought of, a definite overplaying of humor. An example is Tonto wearing a birdcage over his crow headpiece to protect against the cat that has gone missing. Tonto is departing from the saloon girl’s salon. She has a noteworthy leg, an ivory, rifle-shooting leg with scrimshaw work all over it. Her leg is excruciatingly sexy to soldiers in the cavalry who do not know about the rifle inside. They want to touch her leg. Did I explain the strangeness? Can you see how this is one of the craziest movies you will ever see? No wonder movie-goers held back on this one, based on critical review. I wonder . . . would I be able to make it through a second screening? I loved the Dolby sound. I can hear the trumpet call and galloping strands of “The William Tell Overture” as a great-looking guy in a form-fitting black leather mask atop an amazing white horse ride down the desert slope . . . “Da da dum, da da dum, da da dum dum dum . . .”