Ride with the Devil

The War Between the States was perhaps the darkest hour in the history of America; a war that pitted brother against brother and family against family and left scars that even today have not yet healed, and in all probability never will. And, as in any story about any war, beyond any historical significance it is the personal discord behind the greater conflict that creates the emotional impetus that makes it involving. It is the human element that renders the context necessary to give it perspective, which is what director Ang Lee provides in `Ride With the Devil,' a Civil War drama in which he focuses on the personal travails within the broader depiction of the War itself, and along the way manages to include an examination of one of the bloodiest chapters of the War, the infamous raid on Lawrence, Kansas, by Quantrill and his raiders, which he succeeds in presenting quite objectively from the Confederate point-of-view.

In 1863, the Union influence predominates in the State of Kansas, and even across the border in neighboring Missouri, those with Confederate loyalties are finding it increasingly difficult to hold out against the encroaching Northerners, especially without the aid of what could be considered any `regular' Confederate troops. And when things begin to really heat up around their own town, Jack Bull Chiles (Skeet Ulrich) and Jake Roedel (Tobey Maguire) form a band of their own and join in the fray, doing damage to the Union cause wherever it is practicable. Jack Bull and Jake do not like the War and do not like killing; but they are standing up for what they believe to be right.

There are others, however, even among their own, men like the young Pitt Mackeson (Jonathan Rhys-Meyers), who will use the conflict as a vehicle for personal gain and as nothing more than an excuse to express their own violent nature through unnecessary brutality, perpetrated in many instances against innocent victims. And so, for Jack Bull and Jake, as well as many just like them, it becomes a time in which loyalty and moral judgments will be sorely tested; a time during which their souls will be tempered in blood. And they will have to ride with the very Devil himself, against seemingly insurmountable odds.

As with all of his films, director Ang Lee approaches his story through an incisive, yet subtle examination of the traditions, cultural aspects and moral attitudes of the people and times he is depicting. And in so doing, Lee provides his audience with at least some understanding of his subject that goes beyond the actual story and ultimately offers, perhaps, a deeper grasp of the motivations that propel his characters and the drama in which they are engaged. Whether it's the traditions and customs that account for the relationship between a father and his daughters (`Eat Drink Man Woman'), the effects of class distinction (`Sense and Sensibility'), the honor and code by which a warrior lives and dies (`Crouching Tiger, Hidden Dragon') or the moral ambiguities fostered by a lack of all of the above (`The Ice Storm'), Lee infuses his films with insights into the human condition that take them to a higher level. This film is no exception; and (as he does with all his films), Lee presents his story with the aid of breathtaking cinematography (in this film, by Frederick Elmes, who also did `The Ice Storm' brilliantly), which under his guidance is nothing less than visual poetry. It's that special Lee touch, and it adds a wistful, reflective sense to whatever story he is telling, which is one of the elements that make his films so memorable.

As Jake, Tobey Maguire initially brings a sense of youthful innocence to the film that contrasts so effectively with the maturity he conveys later on as the story develops, and his character along with it. Most importantly, Maguire convincingly and believably responds to the events that unfold around him, which adds to the credibility of the overall film and underscores the realism of the presentation: His stoic acceptance of death and the news of those `murdered' in the various skirmishes and battles; the moral propriety to which those he encounters adhere, even in such troubled times; the betrayal, which because of the nature of the conflict is almost commonplace; and the loyalty and beliefs to which he and his companions cling adamantly. It is all of this that Maguire achieves through his performance, and it is no small accomplishment. It is, however, the kind of studied, understated performance that is often taken for granted, which is unfortunate; work like this is worthy of acclaim, and should be recognized.

Skeet Ulrich is effective, as well, as Jack Bull, and Jewel (in her motion picture debut) turns in an engaging performance as Sue Lee Shelley. It is Jeffrey Wright, however, who stands out in a notable supporting role as Daniel Holt, as well as Jonathan Rhys-Meyers, who brings a chilling Christopher Walken-like menace to his role of Pitt. Also, in what amounts to a cameo role (one scene), Mark Ruffalo leaves an indelible impression with very little screen time.

The supporting cast includes James Caviezel (Black John), Simon Baker (George Clyde), Tom Guiry (Riley), Tom Wilkinson (Orton Brown), John Ales (Quantrill), John Judd (Otto Roedel) and Kathleen Warfel (Mrs. Chiles). The Civil War will forever be an open wound upon the nation; but hopefully, as time goes on, it will be through the objective contemplations of filmmakers like Ang Lee and films like `Ride With the Devil' that will ultimately help to close the schism and promote healing. In light of more recent events, it is something that is sorely needed, worldwide. Film is a powerful medium; it can be educational as well as entertaining, and perhaps in the future more filmmakers, like Ang Lee, will embrace and promote a sense of unity through the sensitive depiction of the events and attitudes that make us what we are. 8/10.

This movie is one of the sleepers of all time. I gave it a 10 rating. The story is of the famed 'Bushwhackers' out of Missouri that fought on the side of the South during the War Between the States. The clothing they wore were authentic, the history and why they fought is very accurate and well researched. There was actually one of the battles that did not take place as they depicted... but not bad for Hollywood. The actors were well cast and were either the most brilliant of actors or the director really know how to get the best from them. I suspect it was a combination of great directing, super casting to find the right people and excellent performing by the actors. Not just one or two... this movie really jelled! It has action, romance, suspense, good guys and bad guys (sometimes depending on your individual perspective) and history all rolled into one movie. Even has the future Spiderman and Jewel. And she's good!

As someone interested in 19th century American history I had to get this movie on DVD. It took forever to arrive but was well worth the wait..... I think. The qualification is added because I found it ... odd. Appparently accurate, literate, well acted but most of all unpredictable. I shall resist the temptation to write "spoilers" but suffice it to say there were more obvious "Hollywood" ways of dealing with many of the plot twists. Put another way, this movie is very well written. As "Gods and Generals" dealt with this horrible war at the level of general officers, this movie deals with it at the level of privates and irregulars. Is it too much of a soap opera? Not really. Is it unsatisfying in its dealing with evil? No, but it is unexpected. Is this a great movie? I don't know, but it is a good one.

My great-grandfather J.W. Daugherty was a very young teenager during the civil war in Missouri. While still twelve he was put to work as a mule-skinner by one of the "black-flag" bands of bushwackers around Cedar County, in southern Missouri. He later mastered the use of the six-shooter, and rode with Quantrill. He claimed to have ridden with Jesse and Frank James during and after the war, but every man of his generation made the same claim. Were all the claims true, it would probably be about fifty thousand in all who rode with the James boys.

J.W. claimed not to have been present during the burning of Lawrence, but so did everybody else. With so many thousand occupied in riding with the brothers James, it is passing strange that so few managed to be present during the actual burning of Lawrence, the single most important action of the Quantrill band.

I am, incidentally, named after Lawrence, that appellation being my first name.

J.W. claimed it was the James brothers who invented the idea of gripping the reins in their teeth while firing both revolvers, thereby availing oneself of a full twelve rounds in flight. J.W. ended up being the champion fiddler of Missouri, losing that title only when jealous rivals shut him out of the fiddling contests because he could read music.

Another great-grandfather of mine was James Quinn, a young captain of the Union calvery. This was a Missouri militia unit, but militias on the border often saw more action that regular units back east. His job was to guard the railroads from the "highway agents" who even then were perfecting the feat of robbing the trains of yankee gold sent south for payroll.

James and J.W. were supposed to have been on opposite sides during the Battle of Wilson's Creek, but it is impossible to know for sure. I have copies of Union orders for Captain James Quinn, having to do with the bandits operating in southern Missouri.

This film, RIDE WITH THE DEVIL, is one of the truly great American films, and the only one that even begins to get close to the feeling of the border wars, the bushwacking, the betrayals, and the split families. In Missouri, the Civil War was hell on earth, breaking every family apart at least once.

Toby McGuire is overwhelming in his grasp of the teenage border warrior who has known nothing else but killing, and who finally decides to make a new life in California. Jewel is astonishing as the young survivor widowed twice, but full of life and a desire to live it to the fullest.

The historical details are almost always spot on, and the faces of the men and women are disturbingly like what they must have been in those terrible days.

But finally, it is the script that is almost unbelievable in its power. Even when one or two words are wrong, the scriptwriter manages to somehow capture the mood and the rhythms of 19th-century speech in that part of the country, in all its humor and deep fatalism and courtesy--and yes, its cruelty too.

This is the first work of art that made me feel something close to what my great-grandfathers must have gone through. They left many stories and written records behind, but such autobiographies conceal as much as they reveal, especially about the violence and its traumatizing effects of the young males who experienced it.

I am grateful to the makers of this film, the script-writer, the author of the original book WOE TO LIVE ON, the actors and others who created RIDE WITH THE DEVIL and somehow managed to make it such a stunning work of art. To them I am thankful for bringing me closer to ancestors who made me what I am; and who--for better or worse--made this country what it is.

Lawrence Swaim

Easily 9 out of 10 for a film by director we will continue to grow to admire. But don't watch this movie expecting to be "entertained." Ang Lee takes an objective look at a relatively unexplored aspect of the Civil War. What is beautiful about the movie, like all of Lee's films, is that he doesn't "side" with his characters. He creates characters, embodies them with life, problems, and ambiguity ... and endows them with a reality that often hits far closer to home than with which many are comfortable. This film has action, but it is not for the action lover since the violence is deeply disturbing and far from gratuitous ... i.e. like the characters, it is real. And as you would expect about one of mankind's most horrific wars, the violence is horrific.

But as an exploration of the greater human ambiguity that surely dwelt within the Civil War, it is a masterpiece. Was the war about slavery and an abolitionism? Lee seems quite willing to blur that line made so popular in depictions like the Blue and the Grey. Neither is about idealism, though, as seen in Gone with the Wind. It is about freedom, about the desire to have something which is yours and to fight for it. As you watch the characters, you will ask yourself "how can they be fighting to preserve slavery?" The fact is, I don't think they really are, and in that the film shows the problem of why so many were caught up in the maelstrom of the Civil War.

The fact seems clear that many of the characters we learn about are fighting out of senses of loyalty to "home" though they may never have examined what home represents or whether they truly espouse its values. The letter scenes are very moving and yet subtle. Jake and Daniel are other examples of loyalty stretched to the limits. And when the tension finally snaps, and these characters find themselves suddenly "free" ... we see the birth of new men.

All this mixed in with Lee's beautiful incorporation of humankind's environment with breathtaking vistas and frames. Lee has a style which is his, somehow European in its "art" (a slow camera, unrushed), Asian in its epic-ness and development of story, and yet somehow familiar and easily accessible to so many in North Americans.

Relax, let go of your preconceptions about what the Civil War is, what the "western" as a genre is, what a war movie should be ... and let Ang Lee take you into a world so fragile, so hard, so real that few of us can comfortably see it.

In this, Lee continues what he wrought in Ice Storm. Again, the movie is slow paced and without apparent "direction" ... a sure sign of Lee's ability to direct without "imposing" himself on the story or screen. His direction is amplified by what he brings out of Jewel (yes, the singer), a hitherto unproven actress who puts in an amazing performance.

A movie for those who love film and are not lovers of the standard Hollywood epic.