Top Ten Favorite Movies Set in the 1860s

Below is my current list of favorite movies set in the 1860s: 

TOP TEN FAVORITE MOVIES SET IN THE 1860s

1. “Lincoln” (2012) – Steven Spielberg directed this highly acclaimed film about President Abraham Lincoln’s last four months in office and his efforts to pass the 13th Amendment to end slavery. Oscar winner Daniel Day-Lewis, Oscar nominee Sally Field and Oscar nominee Tommy Lee Jones starred.

2. “Shenandoah”(1965) – James Stewart starred in this bittersweet tale about how a Virginia farmer’s efforts to keep his family out of the Civil War failed when his youngest son is mistaken as a Confederate soldier by Union troops and taken prisoner. Andrew V. McLaglen directed.

3. “Angels & Insects” (1995) – Philip Haas directed this adaptation of A.S. Byatt’s 1992 novella, “Morpho Eugenia” about a Victorian naturalist who marries into the English landed gentry. Mark Rylance, Kristin Scott-Thomas and Patsy Kensit starred.

4. “Class of ’61” (1993) – Dan Futterman and Clive Owen co-starred in this television movie about recent West Point graduates and their experiences during the first months of the Civil War. Produced by Steven Spielberg, the movie was directed by Gregory Hoblit.

5. “The Tall Target” (1951) – Anthony Mann directed this suspenseful tale about a New York City Police sergeant who stumbles across a plot to kill President-elect Lincoln and travels aboard the train carrying the latter to stop the assassination attempt. Dick Powell starred.

6. “Far From the Madding Crowd” (1967) – John Schlesinger directed this adaptation of Thomas Hardy’s 1874 novel about a young Victorian woman torn between three men. The movie starred Julie Christie, Alan Bates, Terence Stamp and Peter Finch.

7. “The Good, the Bad and the Ugly” (1966) – Sergio Leone directed this epic Spaghetti Western about three gunslingers in search of a cache of Confederate gold in New Mexico, during the Civil War. Clint Eastwood, Lee Van Cleef and Eli Wallach starred.

8. “Cold Mountain” (2003) – Anthony Minghella directed this poignant adaptation of Charles Fraizer’s 1997 novel about a Confederate Army deserter, who embarks upon a long journey to return home to his sweetheart, who is struggling to maintain her farm, following the death of her father. The movie starred Oscar nominees Jude Law and Nicole Kidman, along with Oscar winner Renee Zellweger.

9. “Little Women” (1994) – Gillian Armstrong directed this adaptation of Louisa May Alcott’s 1868 novel about four sisters from an impoverished, yet genteel New England family. The movie starred Winona Ryder, Trini Alvarado, Christian Bale and Susan Sarandon.

10. “The Beguiled” (1971) – Clint Eastwood starred in this atmospheric adaptation of Thomas Cullinan’s 1966 novel about a wounded Union soldier who finds refuge at an all-girl boarding school in 1863 Mississippi. Directed by Don Siegel, the movie co-starred Geraldine Page and Elizabeth Hartman.

“THE ADVENTURES OF HUCK FINN” (1993) Review

“THE ADVENTURES OF HUCK FINN” (1993) Review

Looking back, I realized that I have seen very few movie and television adaptations of Mark Twain’s novels – especially those that featured his two most famous characters, Tom Sawyer and Huckleberry Finn. I take that back. I have seen a good number of adaptations, but it has been a long time since I have viewed any of them. Realizing this, I decided to review the 1993 Disney adaptation of Twain’s 1885 novel, “The Adventures of Huckleberry Finn”.

According to Wikipedia, “THE ADVENTURES OF HUCK FINN” mainly focused the first half of Twain’s novel. After watching the film, I realized that Wikipedia had made an error. The movie focused on four-fifths of the narrative. It ignored the novel’s last segment – namely Huck Finn’s reunion with his friend, Tom Sawyer, at the Arkansas plantation owned by the latter’s uncle. Actually, director/screenwriter Stephen Sommers combined the aspects of both this chapter and the previous one in which Huck meets the two con men – “The Duke” and “The King” – along with the Wilkes sisters into one long segment for the movie’s second half. In fact, Sommers named the town in which the Wilkes sisters lived after Tom’s Uncle Phelps. I know what many are thinking . . . “THE ADVENTURES OF HUCK FINN” is not a completely faithful adaptation of Twain’s novel. Considering that I have yet to come across a movie or television production that is not completely faithful of a source novel or play, I find such complaints unnecessary. At least for me. Especially since I had very little problems with Sommers’ adaptation in the first place.

Anyone familiar with Twain’s novel knows what happened. A Missouri boy named Huckleberry Finn (who first appeared in Twain’s 1876 novel, “The Adventures of Tom Sawyer”) is living with a pair of widowed sisters – the Widow Douglas and Miss Watson – when his drunken and violent father, “Pap” Finn, reappears in his life, determined to get his hands on the money left to Huck by his late wife. After Huck spends a terrifying night with a drunken Pap, he decides to fake his death and head for Jackson’s Island in the middle of the Mississippi River. There, he discovers Jim, Miss Watson’s slave and one of Huck’s closest friends, hiding out as well. Jim had escaped after learning Miss Watson’s decision to sell him down the river. Huck initially condemns Jim for running away. But due to their friendship, he decides to help Jim escape and join the latter on a trip down the Mississippi to Cairo, Illinois. There, Jim hopes to find river passage up the Ohio River to freedom. Unfortunately, their plans fail fall apart and the two friends end up facing a series of adventures and different characters as they find themselves heading down the Mississippi River.

To be honest, I have never read a review of “THE ADVENTURES OF HUCK FINN”. In fact, I have never seen the movie in theaters. Which is a shame. Because this film is damn good. I had seen the version that aired on PBS back in 1985. And I never thought any version could top it. Well, this particular version did not top it . . . so to speak. But, I do not regard it as inferior to the 1985 version. I believe that both movies are truly first-rate. I just happen to prefer this version, which was written and directed by Stephen Sommers. I do recall how many critics had initially dismissed the film, believing it had“Disneyfied” what is regarded by many as Mark Twain’s masterpiece . . . well, at least in the many years following his death.

Sommers’ screenplay had managed to “Disneyfied” Twain’s story in one way. It avoided the use of the word “nigger” to describe Jim Watson and other African-American characters. Instead, some characters called Jim “boy” in a very insulting and derogatory manner. But there were other changes made to Twain story. Huck’s joke to Jim by pretending he was dead was erased. And as I had stated earlier, the last segment that featured Jim being sold to an Arkansas plantation owned by Tom Sawyer’s uncle, along with Huck’s reunion with his best friend, had been removed. Personally, I had no problems with the removal of Tom’s appearance. Like many literary critics – including those who admired the novel – I have never liked that particular subplot. Instead, Sommers had decided to end the story with a major sequence featuring Huck and Jim’s “partnership” with the two con men who posed as the long-lost brothers of a dead rich man named Wilkes. This allowed Sommers to name Wilkes’ town after Tom Sawyer’s uncle Phelps. Sommers also allowed Huck to experience Tom’s fate in the story. By getting rid of Huck and Jim’s reunion with Tom, Sommers managed to end the movie on a more exciting note, instead of the anti-climatic one that seemed to mar Twain’s story.

But there is one thing that Sommers did not do . . . he did not softened the anti-slavery and anti-racism themes from Twain’s novel. Sommers not only retained the strong sense of travel and adventure along the Mississippi River in the story, he did an effective job of maintaining the author’s anti-slavery and anti-racism themes. This was apparent in scenes that featured Huck and Jim’s debate about the presence of non-English speaking people in the world, the two con men’s discovery of Jim’s status as a runaway slave and their blackmail of the two friends and finally, Huck and Jim’s attempt to make their escape from Phelps’ Landing to a northbound steamboat. To reinforce the theme, Sommers even allowed Jim to be caught by the Grangerford family and forced to become one of their field slaves – something that did not happen in Twain’s novel. More importantly, Jim’s decision to run from Miss Watson would have an impact on their friendship, which had already been established before the story began. This was apparent in Huck’s reluctance to help Jim escape and the latter’s knowledge of Pap’s death . . . something he kept from the boy throughout most of the story. Jim’s status as a runaway, along with the two con men’s dealings at Phelps’ Landing culminated in an exciting conclusion that resulted with a rather scary lynch mob after Huck and Jim’s hides.

But it was not just Sommers’ adaptation of Twain’s story that I found satisfying. “THE ADVENTURES OF HUCK FINN” is a visually beautiful film. And the producers can thank veteran Hollywood filmmaker Janusz Kaminski for his beautiful photography. His rich and sharp colors, which holds up very well after 22 years, really captured the beauties of the film’s Natchez, Mississippi locations. His photography also added to the film’s early 19th century Mississippi Valley setting. However, Kaminski’s photography was not the only aspect that allowed Sommers to beautifully recapture the film’s setting. I was also impressed by Randy Moore’s art direction and Michael Warga’s set decorations – especially at a riverboat landing in which Huck, Jim and the two con men meet a former resident of Phelps’ Landing. I noticed that Betsy Heimann’s career in Hollywood mainly consisted of movie projects set in the present day. As far as I know, “THE ADVENTURES OF HUCK FINN” was her only movie project set in the past. I find this a pity, because I was very impressed by her costumes for the movie. In fact, I found them quite beautiful, especially her costumes for Anne Heche, Renée O’Connor and Dana Ivey.

However, the costumes also brought up a small issue I had with the movie. Exactly when is this movie set? Was it set during the 1820s or the 1830s? During a scene between Huck and young Susan Wilks, the former (who was impersonating the Duke and the King’s Cockney valet) pointed out that George IV reigned Great Britain. Which meant the movie could be set anywhere between January 1820 and June 1830. But Heimann’s costumes for the women, with its fuller skirts, seemed to indicate that the movie was definitely set in the 1830s. So, I am a little confused. I am also confused as to why Huck had failed to tell Billy Grangerford that the captured Jim was his servant. Why did he pretend that he did not know Jim? The latter could have been spared a brutal beating at the hands of the family’s overseer. I congratulate Sommers for using the Grangerford sequence to reveal more on the brutality of 19th century American slavery. But he could have easily done this by allowing both Huck and Jim to witness the whipping of a Grangerford slave. I also had a problem with Bill Conti’s score. Well . . . at least half of it. On one hand, Conti’s score meshed well with the story and its setting. However . . . I noticed that some parts of his score had not originally been created for this movie. Being a long time fan of John Jakes’ “North and South” Trilogy and the three television adaptations, I had no problem realizing that Conti had lifted parts of the score he had written for the 1985 miniseries, “NORTH AND SOUTH” and used it for this movie.

I might have a few quibbles about “THE ADVENTURES OF HUCK FINN”. But I certainly had no complaints about the film’s cast. The movie was filled with first-rate performances from the movie’s supporting cast. Colorful performances included those from Dana Ivey and Mary Louise Wilson as the kind-hearted Widow Douglas and her more acerbic sister Miss Watson; Ron Perlman, who was both scary and funny as Huck’s drunken father Pap Finn; Francis Conroy as the verbose shanty woman from Huck tries to steal food; Garette Ratliff Henson as the friendly Billy Grangerford; Tom Aldredge as the suspicious Dr. Robinson, who rightly perceives that the two con men are not his late friend’s brothers; Curtis Armstrong as the slightly brainless and naïve former resident of Phelps’ Landing, who told the “Duke and King” everything about the Wilks family; and James Gammon as the tough sheriff of Phelps’ Landing, who seemed to have a naïve regard for the two con men. Anne Heche, along with Renée O’Connor (Gabrielle from “XENA: WARRIOR PRINCESS”) and Laura Bundy portrayed the three Wilks sisters – Mary Jane, Julia and young Susan. Both Heche and O’Connor gave charming performances. But I found Bundy rather funny as the suspicious Susan, especially in her interactions with Elijah Wood.

Of all the actors I could have imagined portraying the two con men – the King and the Duke – neither Jason Robards or Robbie Coltrane enter my thoughts. In fact, I could never imagine the gruff-voiced, two-time Oscar winner and the Scottish actor known for portraying Rubeus Hagrid in the “HARRY POTTER” movie franchise as a pair of 19th century Mississippi Valley con artists, let alone an effective screen team. Not only did the pair give great performances, but to my surprise, managed to create a very funny comedy pair. Who knew? But the pair that really carried “THE ADVENTURES OF HUCK FINN” turned out to be Elijah Wood as the titled character, Huckleberry Finn and Courtney B. Vance as Jim Watson. Someone once complained that Wood was too young to portray Huck Finn in this movie. How on earth did he come up with this observation? Wood was at least twelve years old when he portrayed Huck. Not only was he not too old, he gave a superb performance as the intelligent, yet pragmatic Missouri boy. More importantly, Wood did an excellent job serving as the film’s narrator. Equally superb was Courtney B. Vance, who in my opinion, turned out to be the best cinematic Jim Watson I have ever seen. Vance did an excellent job in conveying the many facets of Jim’s nature – his sense of humor, lack of education, pragmatism and intelligence. Vance made sure that audiences knew that Jim was uneducated . . . and at the same time, a very intelligent man. The best aspect of Wood and Vance’s performances is that the pair made a superb screen team. I have no idea how they felt about each other in real life. On screen, they sparkled like fireworks on the Fourth of July.

“THE ADVENTURES OF HUCK FINN” may not be a literal adaptation of Mark Twain’s novel. It is clear that writer-director made some changes. And I must admit that the movie possessed a few flaws. But in the end, I felt it was a first-rate adaptation of the novel that bridled with energy, color, pathos, suspense, humor and a sense of adventure. And one can thank Stephen Sommers for his excellent script and energetic direction, along with the superb cast led by Elijah Wood and Courtney B. Vance. It is one Twain adaptation I could never get tired of watching over and over again.

Favorite Films Set in the 1830s

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Below is a list of my favorite movies (so far) that are set in the 1830s:

FAVORITE FILMS SET IN THE 1830s

1. “The Adventures of Huck Finn” (1993) – Elijah Wood and Courtney B. Vance starred in this excellent Disney adaptaion of Mark Twain’s 1885 novel about a young Missouri boy who joines a runaway slave on a journey along the Mississippi River toward the free states in antebellum America. Stephen Sommers directed.

1- The Count of Monte Cristo 2002

2. “The Count of Monte Cristo” (2002) – James Caviezel starred as the vengeful Edmond Dantès in Disney’s 2002 adaptation of Alexandre Dumas, père’s 1844 novel. Directed by Kevin Reynolds, the movie co-starred Guy Pearce and Dagmara Dominczyk.

2 - Pride and Prejudice 1940

3. “Pride and Prejudice” (1940) – Greer Garson and Laurence Olivier starred in this entertaining adaptation of Jane Austen’s 1813 novel. Robert Z. Leonard directed.

3 - The Count of Monte Cristo 1975

4. “The Count of Monte Cristo” (1975) – Richard Chamberlain gave an intense performance in the 1975 television adaptation of Dumas’ novel. Tony Curtis and Kate Nelligan co-starred.

4 - Impromptu

5. “Impromptu” (1991) – Judy Davis and Hugh Grant starred in this comedic tale about author George Sand’s pursuit of composer Frédéric Chopin in 1830s France. James Lapine directed.

5 - Amistad

6. “Armistad” (1997) – Steven Spielberg directed this account of the 1839 mutiny aboard the slave ship La Amistad and the trials of the Mendes tribesmen/mutineers, led by Sengbe Pieh. The movie starred Djimon Hounsou, Matthew McConnaughey, Morgan Freeman and Anthony Hopkins.

6 - Wide Sargasso Sea 2006

7. “Wide Sargasso Sea” (2006) – Rebecca Hall and Rafe Spall starred in this 2006 television adaptation of Jean Rhys’s 1966 novel, which is a prequel to Charlotte Brontë’s 1847 novel, “Jane Eyre”. It focused upon the early marriage of Antoinette Cosway (Bertha Mason) and Edward Rochester.

7 - My Cousin Rachel

8. “My Cousin Rachel” (1952) – Olivia de Havilland and Richard Burton starred in this adaptation of Daphne Du Maurier’s 1951 novel about a young Englishman’s obsession with his late cousin’s widow. Henry Koster directed.

8 - The Alamo 2004

9. “The Alamo” (2004) – John Lee Hancock directed this account of the Battle of the Alamo, the only production about the Texas Revolution that I actually managed to enjoy. The movie starred Billy Bob Thornton, Patrick Wilson and Jason Patric.

9 - The Big Sky

10. “The Big Sky” (1952) – Howard Hawks directed this adaptation of A.B. Guthrie’s 1947 novel about a fur trader’s expedition up the Missouri River. Kirk Douglas and Dewey Martin starred.

Ten Favorite CIVIL WAR Movies and Miniseries

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Below is a list of my favorite movies set during the American Civil War:

TEN FAVORITE CIVIL WAR MOVIES AND MINISERIES

1. “North and South: Book II” (1986) – An almost excellent miniseries adaptation of John Jakes’ 1984 novel, “Love and War”, despite having a few problems with some of the plotlines and characters. If you like over-the-top period pieces, this is your story. The miniseries starred Patrick Swayze, James Read and Lesley Anne-Down.

2. “Gettysburg” (1993) – Movie adaptation of Michael Shaara’s Pulitzer Prize winning novel about the three-day battle at Gettysburg during the war. First class. Starring Tom Berrenger, Jeff Daniels and Martin Sheen.

3. “Glory” (1989) – Movie about the famous all black 54th Massachusetts Infantry regiment during the war. Superb and highly recommended. The movie starred Matthew Broderick, Oscar winner Denzel Washington, Morgan Freeman, Andre Braugher and Cary Elwes.

4. “Lincoln” (1988) – Sam Waterson and Mary Tyler Moore starred in this excellent, two-part television adaptation of Gore Vidal’s 1984 novel about the 16th president.

5. “Cold Mountain” (2003) – Love story about a Confederate deserter trying to return home to North Carolina and the love of his life. Beautiful love story. Starring Jude Law, Nicole Kidman and Oscar winner Renee Zellewiger.

6. “The Blue and the Gray” (1982) – A three-part miniseries about two related families – one from Pennsylvania and one from Virginia during the Civil War. Pretty good. The miniseries starred John Hammond and Stacy Keach.

7. “Class of ’61” (1993) – TV movie about two West Point graduates during the first months of the Civil War and the people in their lives. The movie starred Dan Futterman, Clive Owen, Andre Braugher, Laura Linney and Josh Lucas.

8. “The Beguiled” (1971) – Intriguing Civil War melodrama about a wounded Union soldier convalescing at girls’ school in Mississippi. The movie starred Clint Eastwood, Geraldine Page and Elizabeth Hartman.

9. “The Good, the Bad and the Ugly” – Three men search for missing Confederate gold in this Spaghetti Western set in New Mexico, during the Civil War. Great movie that starred Clint Eastwood, Eli Wallach and Lee Van Cleef.

10. “Gone With the Wind” (1939) – The best thing about this Oscar winner is its first half, which featured the trials and tribulations of Georgia belle, Scarlett O’Hara, during the war. The movie starred Oscar winners Vivian Leigh and Hattie McDaniel, along with Clark Gable, Olivia DeHavilland and Leslie Howard.

What are your favorite Civil War movies?

“THE SACKETTS” (1979) Review

Below is my review of the 1979 miniseries called “THE SACKETTS”

“THE SACKETTS” (1979) Review

Thirty years ago, CBS aired a two-part miniseries (or television movie) based upon two novels written by the late Louis L’Amour. Directed by Robert Totten, “THE SACKETTS” starred Sam Elliot, Tom Selleck and Jeff Osterhage as the three Sackett brothers.

”THE SACKETTS” told the story of Tell (Elliot), Orrin (Selleck) and Tyrel (Osterhage) Sackett and their efforts to make new lives for themselves in the post-Civil War West. Screenwriter Jim Byrnes took two novels about the Sackett brothers – “The Daybreakers” (1960) and “Sackett” (1961) – and weaved them into one story. “The Daybreakers” mainly focused upon Tyrel and Orrin’s efforts to settle out West following the tragic circumstances of a family feud in East Tennessee. The two brothers eventually become involved in a between an elderly New Mexican rancher (Gilbert Roland) and a bigoted American businessman (John Vernon) in Santa Fe. At the same time, Tyrel struggles to keep the peace between a former New Orleans attorney named Tom Sunday (Glenn Ford), whom the two brothers had befriended during a cattle drive and Orrin. “Sackett”, on the other hand, focused upon the oldest Sackett brother and former Civil War veteran, Tell. Tell’s story centered around his search for gold in the Sangre de Cristo Mountains and his problems with a family of outlaws who want revenge for Tell’s killing of their brother, a crooked gambler.

To Totten and Byrnes’ credit, they did an admirable job of fusing the two novels by adding two reunions between the brothers near the ends of Parts 1 and 2. They also allowed the supporting character of Cap Roundtree (Ben Johnson), a grizzled former mountain man whom Tyrel and Orrin also meet on the cattle drive; to break away from the two younger brothers and join Tell’s hunt for gold following the three brothers’ reunion at the end of Part 1. “THE SACKETTS” is also an entertaining and solid Western with two interesting tales that involve land feuds, romance, brotherly love, political change, vengeance and plenty of action.

One of the best aspects of the miniseries focused upon the developing hostility between the middle Sackett brother Orrin, and the brothers’ friend, Tom Sunday in Part 2. It was an interesting tale on how a solid friendship could easily sour over a difference of opinion regarding moral compass. After Cap had hooked up with Tell; Tyrel, Orrin and Sunday encountered the smoking remains of an emigrant family that had been killed by Ute warriors. Sunday wanted to split the money between the three of them. Orrin, upon discovering a letter written to the family by a relative, wanted to send the money back to said relative. Orrin got his way. And Tom’s resentment toward Orrin ignited. That same resentment exacerbated when he lost the election of Santa Fe’s new sheriff to the middle Sackett.

Politics also played a major role in the miniseries. The topic focused upon a feud between an aging New Mexican rancher Don Luis Alvarado (Gilbert Roland) and American businessman Jonathan Pritts (John Vernon). The feud was mainly the old Anglos vs. Mexican conflict that still dominates the Southwest to this day. The Sacketts became dragged into it, due to Orrin’s courtship of Pritts’ daughter (Marcy Hanson) and Tyrel’s romance with Don Luis’ granddaughter, Drusilla (Ana Alicia). In the end, the Sacketts and even Sunday sided with the New Mexicans. One has to applaud L’Amour for introducing this topic into the story, and for screenwriter Byrnes for maintaining it. But if I must be honest, I thought the execution of Don Luis’ feud with Pritts came off as heavy-handed and preachy.

One would think that Tell Sackett’s hunt for gold would dominate his storyline. Amazingly, it did not. Well, Tell did meet and fall in love with a woman named Ange Kerry (Wendy Rastattar), who had been stranded in the Sangre de Cristo Mountains for several years. But his story mainly focused upon his problems with the brothers (Jack Elam, Slim Pickens and Gene Evans) of crooked gambler named Bigelow (James Gammon), whom he had killed early in Part 1. This reminded me of a line from the 1984 adventure-comedy, “ROMANCING THE STONE” – “But if there was one law of the West, bastards had brothers . . . who seemed to ride forever.” And both Tell and Cap eventually discovered that the Bigelows had brothers and allies everywhere. One ally turned out to be an insecure gunfighter named Kid Newton (Paul Kelso), who had an unfortunate and humiliating encounter with Tell and Cap at a local saloon. Tell’s problems with the Bigelows culminated in a tense situation in the Sangre de Cristo foothills and a violent showdown in a nearby town.

Most of the performances featured in “THE SACKETTS” struck me as pretty solid. To the cast’s credit, they managed to use mid-to-late 19th century dialogue without being sloppy or indulging in what I considered the cliché ‘Frontier’ speech pattern that seemed popular in the Westerns of the late 1970s and early 1980s. However, I found at least four performances that really impressed me. One of them belonged to Sam Elliot, who portrayed the oldest brother, Tell. I might as well be frank. He has always been a favorite actor of mine for a long time. With his grizzled, deep voice and demeanor, the man looked as if he had stepped out of a 19th century daguerreotype. He also did an effective job of conveying Tell Sackett’s loner personality, making it easy for viewers to accept the idea that this is a man who would wait years before contacting any members of his family.

Another performance that impressed me belonged to Jeff Osterhage as the tense, yet pragmatic youngest Sackett, Tyrel. To this day, I am amazed that Osterhage never became a big star in television or movies. He seemed to have possessed both the looks and screen presence to become one. And I was certainly impressed by his ability to portray Tyrel’s pragmatic, yet intimidating nature. Traits that led him to be the best shot in the family.

I also enjoyed Wendy Rastattar’s performance as Ange Kerry, the young woman that Tell and Cap had discovered in the mountains. Rastattar did a first-rate job in portraying a tough, yet passionate young woman, who ended up falling in love with Tell. But the best performance came from Hollywood icon, Glenn Ford as the enigmatic friend of the Sacketts, Tom Sunday. In Ford’s hands, Sunday became one of a gallery of complex characters he had portrayed during his career. For me, it was sad to watch Sunday regress from Orrin and Tyrel’s wise mentor to Orrin’s drunken and embittered foe. And Ford did an excellent job in exploring Sunday’s many nuances, including those flaws that led to his downfall.

One might noticed that I had failed to include Tom Selleck’s performance as one of the more impressive ones, considering that both Elliot and Osterhage made the list. I found nothing wrong with Selleck’s performance. Unfortunately, he had the bad luck to portray Orrin, the least interesting member of the Sackett family. Orrin was an affable, yet solid character that lacked any nuances, which could have made him as interesting as his brothers. A great deal happened to Orrin in this story. He lost his bride in a family feud, fell briefly in love with the villains’ daughter and pissed off Tom Sunday. Yet, he was not very interesting character. Which left the talented Selleck with very little to work with.

The movie’s production values struck me as very impressive. Production designer Johannes Larson, costume designers Carole Brown-James and Barton Kent James, and cinematographer Jack Whitman did an excellent job in capturing the ambiance of the Old West circa 1869-1870. Along with the director Totten, they managed to create a West during a period before it truly threatened to become settled. They managed to capture the ruggedness and beauty of the West without overcompensating themselves, like many other Westerns released after the 1960s tend to do.

Many years have passed since I have read “The Daybreakers” and “Sackett”. Which is my way of saying that I cannot tell whether the miniseries was a completely faithful adaptation of the two novels. If I must be honest, I really do not care whether it is faithful or not. The television version of the two novels – namely “THE SACKETTS” – is a first-rate and entertaining saga. I am certain that many fans of Louis L’Amour will continue to enjoy it.