As a movie enthusiast, let me share my thoughts on “American Primeval.” Despite Sheridan’s notable contributions to the modern western genre through shows like “Yellowstone,” its prequels “1883” and “1923,” and films such as “Hell or High Water” and “Wind River,” it’s refreshing to see a different take. In this case, the Taylor making an impact is Taylor Kitsch, not Sheridan himself.
American Primeval strives, albeit unevenly, to revive the gritty, realistic style of western television series like Deadwood, Hell on Wheels, and Godless. It avoids romanticizing history, instead portraying a darker side of the past. Unlike traditional westerns that feature resilient settlers embodying the cowboy spirit, or depicting modern-day family ranches and oil rigs as symbols of American ingenuity, this six-episode Netflix miniseries, set in the untamed Utah Territory of 1857, concentrates on the Mormon community led by Brigham Young (Kim Coates). The series explores their aggressive efforts to expel non-Mormons and Native tribes from what they considered their “Zion,” suggesting that this violent behavior left a lasting mark on both the land and American identity.
In order to drive this narrative, the miniseries “American Primeval” intertwines three plotlines:
1. The simmering hostility between Young and Jim Bridger (Shea Whigham), a frontiersman who established Fort Bridger as a welcoming outpost, which Young covets for himself.
2. The blossoming relationship between tracker and guide Isaac Reed (Kitsch) and Sara Rowell (Betty Gilpin), an Eastern woman who employs Isaac to guide her and her son to her husband’s gold claim in the West, a bond that deepens over time.
3. The Shoshone tribe’s fight for survival against Mormon attacks, which intensify when young Mormon woman Abish Pratt (Saura Lightfoot-Leon) witnesses a massacre of settlers by her fellow Latter-day Saints and seeks sanctuary with the Shoshone.
This miniseries, titled American Primeval, presents a captivating narrative about this nation’s troubled past, with the cast delivering convincing performances. However, the storylines in this production are so distinct in terms of their importance, locations, and rhythm that it sometimes seems like three separate series are being presented instead of one. One story is engaging and well-executed, another is somewhat predictable but acceptable, while a third bears striking resemblance to The Revenant, a work also written by the creator, Mark L. Smith. This similarity might lead you to anticipate a bear attack in this series, which, as a spoiler, does occur! The series masterfully navigates the peaks and valleys of this vast, violent American tale.
The Good
In a different yet understandable manner: Shea Whigham portrays a disgruntled outdoorsman, harboring animosity towards Mormons and aware that his lifestyle is likely to vanish under the guise of “progress.” His character’s dialogue leans toward raw and blunt expressions such as, “Here he comes, all friendly and God-fearing, hoping I won’t spot the hidden threat to my manhood.” This TV show is a must-see! Whigham has shown consistency in playing characters from yesteryear expressing antipathy towards their own country (Gaslit was excellent, let me tell you!) and he excels as Bridger, whose fort becomes the focal point for the series’ portrayal of Young and his Nauvoo Legion, a Mormon army led by frontiersman Wild Bill Hickman (Alex Breaux), and the U.S. Army dealing with escalating tension in the American West, commanded by Captain Dellinger (Lucas Neff).
The drama “American Primeval” portrays the Mormons as largely responsible for widespread destruction in Utah, and a thrilling long take in the opening episode swiftly circles around the Mountain Meadows Massacre, moving from one wagon to another, dodging arrows, and being sprayed with blood. Much of this is based on historical facts, as detailed by Jon Krakauer in his book “Under the Banner of Heaven,” and “American Primeval” holds no compassion for any of these characters, portraying them as traitors, killers, and rogues. If you fail to grasp this, a bold and brutal whipping scene towards the end of the miniseries clearly conveys its perspective. Likewise, the occasional narration of Dellinger’s growing understanding that the country’s beauty contradicts the people who claim it is their destiny to own it can be seen as overly obvious.
In essence, this narrative presents a significant tension due to the intricate and sharp exchanges between Bridger and Young’s characters, while also showcasing the acting prowess of the actors portraying the Mormon antagonists who embody their villainy quite vividly. This storyline sets itself apart from contemporary westerns by delving into the role religion played in shaping America’s exceptionalist ideologies, a topic that is often avoided in modern adaptations.
American Primeval, through its narrative, aims to underscore the persistence of the brutality from America’s past, which has merely evolved into various forms of contemporary governance and religious conservatism. As Bridger remarks, “Civilization and civilized are two different words entirely.”
This somber message is occasionally lightened with moments of humor, such as Dellinger’s dismissive yet amusing comment, “These fucking Mormons,” offering a brief break from the intense bloodshed and violence.
The Familiar
In the promotion of “American Primeval,” Netflix is focusing on Taylor Kitsch’s performance, making it accessible to those familiar with his expressive acting. Isaac Reed, played by Kitsch in the series, initially comes off as rude and dismissive toward Sara, portrayed by Gilpin, but eventually softens towards her and her son Devin (Preston Mota). As they journey West while avoiding bounty hunters, Reed embodies various characters Kitsch has portrayed under director Peter Berg for “American Primeval.” He displays the gentle eyes of Tim Riggins from “Friday Night Lights,” the sound moral compass and keen survival skills of Lieutenant Michael Murphy from “Lone Survivor,” and the detached pain of opioid addict Glen Kryger in “Painkiller.” Essentially, Reed is a fusion of previous Kitsch roles, which makes his portrayal convincing, yet somewhat predictable.
In a similar vein, Gilpin’s character, Sara, exhibits a bold, brassiness, along with hidden sharpshooting talents – a perfect fit for her role, much like Kitsch’s part. They both seem perfectly cast! However, their storyline in the series “American Primeval” appears to follow predictable emotional arcs quite clearly. Some aspects of their plot, such as the underdeveloped backstory of the young Shoshone woman Two Moons (played by Shawnee Pourier) or the overused themes of tragic pasts, sexual abuse, and clichéd character traits, feel either overlooked or tired.
The journey and destination of Gilpin’s thread in “American Primeval” are the most formulaic, consisting of Reed fighting, teaching a life lesson to Devin, saving the day, and gazing longingly at Sara’s growing affection. This predictable pattern is made more tolerable by the witty banter between Kitsch and Gilpin, but it lacks the element of surprise.
The Revenant, Basically
As a cinephile, if “American Primeval” brings any familiarity, it’s not about repeating the political stance of Sheridan’s works or even the previous collaboration between Berg, Kitsch, and Explosions in the Sky on “Friday Night Lights”. Instead, it strongly echoes the 2015 film, “The Revenant”. Both the series and the film share similar narratives (characters left for dead seeking revenge, a peculiar French faction, honorable indigenous people planning to exterminate white settlers) and visual aesthetics (dramatic 45-degree shots, close-ups with wide lenses; expansive compositions of dusty plains, stormy skies, and snowy mountains).
Just like “The Revenant”, the series delves into conflicts and cultural differences among various tribes, and it underscores how the creation of the United States marked the countdown to the demise of their way of life. In “American Primeval”, you’ll find similar themes, albeit with a twist: here, both the U.S. military and Mormons are portrayed as antagonists. The military is shown issuing decrees forcing Native tribes onto government-controlled reservations, while Mormons are depicted pretending to be Natives when committing atrocities against settlers.
Historically speaking, it’s impressive that the series “American Primeval” delves into the conflicts not only between tribes such as the Paiute, allied with the Mormons, and the Shoshone, who are hostile towards them, but also internal disputes within a single tribe, like the rebellious Shoshone group known as the Wolf Clan, who engage in guerrilla warfare against the Latter-day Saints. The production team, including indigenous cultural advisors, linguists, and casting directors, have taken great care to ensure authenticity, which is evident in the depiction of Shoshone community design, warrior rituals for both males and females, and power struggles among leaders over external threats. This attention to detail makes the portrayal of these aspects in “American Primeval” feel thoughtfully crafted.
In this revised narrative, if Native characters were integrated, it would lend a unique flavor and emphasize the difference in land perception between Indigenous tribes and invading settlers within the storyline. However, American Primeval connects the Shoshone to the main plot through the Pratts, a Mormon couple whose significance mirrors The Revenant and numerous other westerns centered on white protagonists. Dane DeHaan offers a captivating portrayal of Jacob Pratt, who nearly loses his scalp during the Mountain Meadows Massacre and unwittingly teams up with his attackers to find his missing wife Abish, held by Red Feather (Derek Hinkey), the Wolf Clan leader. Injured severely in the head, Jacob is so desperate to reunite with Abish that he fails to recognize the murderous intentions of his newfound kin, including Nauvoo Legion leader James Wolsey (Joe Tippett). Meanwhile, Abish’s bond with the Shoshone deepens into a sincere relationship more profound than any she had ever shared with her fellow Mormons.
In a surprising twist, Abish’s interactions with Red Feather diverge from what one might anticipate, while Hinkey exudes heavy weight as the brooding warrior. However, American Primeval does not fully delve into the depth it could when portraying Native communities and their individual characters; we primarily witness the Shoshone’s experiences through Jacob and Amish, who are underdeveloped themselves. This narrative thread is both well-intentioned and hesitant, falling short compared to Bridger and Young’s rivalry or Reed and Sara’s relationship in terms of intensity and writing quality.
American Primeval starts with a title card that informs us nearly everyone in the Utah Territory was ensnared in the bloody conflict between the military, Mormons, settlers, and Native Americans. However, it would have been more impactful if there were concluding text to provide updates on what happened to the Shoshone, Paiute, Ute, and other tribes depicted in the series after 1857, as well as to emphasize the paradoxical nature of this era of American “progress.” American Primeval sheds light on this aspect of history, but not quite enough.
Read More
- SUI PREDICTION. SUI cryptocurrency
- „People who loved Dishonored and Prey are going to feel very at home.” Arkane veteran sparks appetite for new, untitled RPG
- LDO PREDICTION. LDO cryptocurrency
- Destiny 2: A Closer Look at the Proposed In-Game Mailbox System
- Clash Royale Deck Discussion: Strategies and Sentiments from the Community
- Jennifer Love Hewitt Made a Christmas Movie to Help Process Her Grief
- ICP PREDICTION. ICP cryptocurrency
- Naughty Dog’s Intergalactic Was Inspired By Akira And Cowboy Bebop
- Critics Share Concerns Over Suicide Squad’s DLC Choices: Joker, Lawless, and Mrs. Freeze
- EUR IDR PREDICTION
2025-01-09 19:55