This 54-Year-Old Hidden Gem Peter Fonda Western Eventually Became a Cult Classic

1971’s “The Hired Hand,” which was both starred in and directed by Peter Fonda on his directorial debut, is now regarded as a cult classic. Upon its initial release, the movie received mixed reviews. Some critics dismissed it as another “Hippie Western,” a term for films within the genre that reflect the counterculture movement, and it didn’t garner the same success as “Easy Rider” that Universal had anticipated. For many years, “The Hired Hand” didn’t receive the recognition it deserved. However, after being restored in 2001, the film found a new audience, yet it remains a lesser-known gem in Peter Fonda’s extensive body of work.

Today, I found myself immersed in the raw beauty of “The Hired Hand,” a film that showcases Peter Fonda’s keen understanding of the shifting tides within the Western genre. The 60s and 70s saw a surge in anti-Western subgenres, marking a decline in traditional Western popularity. Yet, this era also sparked an innovative wave among Western filmmakers, giving birth to revolutionary works like Alejandro Jodorowsky’s “El Topo” and many other iconic revisionist Westerns by the likes of Sergio Leone and Clint Eastwood.

In “The Hired Hand,” Peter Fonda demonstrates his unique perspective on the evolution of this genre, offering a fresh take on what it means to be a Western film. His work is a testament to the genre’s resilience and adaptability in the face of change.

The Hired Hand Is Peter Fonda’s Impressive Directorial Debut

Peter Fonda Also Stars as Harry, The Film’s Lead

The Hired Hand narrates the tale of Harry Collings, a drifter who has been traversing the American Southwest for over six years with his companion Arch Harris, when he decides it’s time to return home. He left behind a wife and child in a settlement, and now that home doesn’t seem so unfavorable after enduring numerous hardships on their journey. Initially, Arch intends to keep moving Westward. However, their friendship is tested when their friend Dan meets an untimely death. This event alters their farewell.

As per what his alleged killer claimed, I’ve learned that Dan had been involved in an unfortunate altercation with his wife. However, my friends Harry and Arch vehemently disagree, holding Dan in high regard as a decent young man. In retaliation for the heinous act, they take matters into their own hands, executing a harsh justice by wounding the murderer – first, in both his feet, and second, leaving him with a warning shot to the head.

With vengeance served, we find ourselves heading to Harry’s hometown, where I unexpectedly encounter Hannah, a widow who was once married to Dan. Initially wary of our presence, she eventually agrees to let us stay on as hired help – under one condition: Harry mustn’t reveal his true identity as the father of her child. Thus begins our journey, a tale of revenge intertwined with the struggle of a man reconnecting with a woman who wishes to avoid more complications in her life.

In this movie, it’s easy to sense that trouble is brewing for Harry as he returns home, and it won’t be long before gunfire erupts. The film is packed with action from the get-go, with the villain writhing in pain after glancing at his wounded feet just half an hour into the story. Although the movie subtly suggests a unique bond between Harry and Harris (their names being similar to each other’s surnames seems almost like a poetic twist of fate), it’s not until they arrive at Harry’s old farm with Hannah that the film’s mood changes dramatically.

The film turns out to be a profound and modern examination of love and dedication, with an intriguing tale about a man who grows weary of chasing the unreachable. This storytelling delves into themes of same-sex attraction and sexual freedom. In essence, Harry’s journey west symbolizes his uncertainties and apprehensions about his own sexual orientation. He sets out on a quest to find something and encounters Arch instead. Set against the backdrop of the burgeoning sexual revolution in America during the 1970s, the narrative shifts in the second act, focusing on Hannah’s feminist perspective on her own sexuality and her keen ability to discern Harry’s genuine desires.

Actor	Role
Peter Fonda	Harry Collings
Warren Oates	Arch Harris
Verna Bloom	Hannah Collings
Robert Pratt	Dan Griffen
Severn Darden	McVey

As a captivated observer, I find myself drawn into the intriguing love triangle between Harry, Arch, and Hannah. The delicate dance they perform, bound by unspoken feelings and internal restrictions, is truly awe-inspiring.

Peter Fonda’s directorial approach, or mise-en-scène, is nothing short of mesmerizing. With an uncanny ability to capture the fluidity of thoughts and emotions, he skillfully breaks the traditional 180-degree rule in wide shots, only to seamlessly transition into intimate close-ups. This cinematic technique mirrors the complex web of feelings entangling our three main characters, making their inner turmoil palpable on screen.

The movie, The Hired Hand, goes beyond merely discarding the idea of Manifest Destiny, but also challenges and subverts typical stereotypes for its three main characters. Instead of portraying a traditional macho Western hero, it eliminates that trope, with only the antagonists exhibiting sexist and aggressive behavior. Harry’s frequent expression of dissatisfaction symbolizes his silent unease at conforming to a society he finds problematic. His earlier abandonment of Hannah and their child, an action inherently sexist, is something Harry deeply regrets.

In a different tone: Although he aspires not to conform to typical masculinity, he finds himself adhering to it in various aspects. When Arch encounters a tipsy individual claiming to have slept with Hannah during his employment, he informs Harry but insists Hannah shouldn’t be blamed for anything. However, Harry remains angry and endures the embarrassment of having Hannah point out the obvious to him directly, a situation he silently bears with shame. In instances like these, the imperfections of the characters effectively convey the broader theme.

The Hired Hand’s Narrative Was Just as Complex as It’s Journey

Martin Scorcese Had a Hand in the Film’s Rebirth

The film “The Hired Hand” serves as a relatable portrayal of dynamics in both male-male and male-female relationships, using a Western storyline. It stands out for its feminist and liberty-focused perspective. Notably, Peter Fonda, who played a significant role in this movie, was a vocal advocate for progressivism and came to symbolize the counterculture movement following his performance in Easy Rider.

In “The Hired Hand,” the film’s message is succinctly conveyed through a significant line spoken by Hannah. This idea, although relevant today, is seldom expressed explicitly. When Harry feels distraught as Arch recognizes he must depart from the couple and resume his journey, Hannah says: “He may be a good man, I believe. But he’s spent more time with you than I ever have. (…) Don’t you understand, Harry? It would be as if you returned home with a woman you had been living with and asked, ‘I want her to stay in the guest room.’

In “The Hired Hand,” though Arch and Hannah may have matured sexual feelings more than Harry, it’s Harry who drives the plot. His character embarks on a profound journey of self-discovery, marked by an innocent curiosity about life. The film is deeply introspective, with Peter Fonda portraying Harry exceptionally well, reflecting his complex and puzzled state.

In a stark contrast, Harry seems light years away from the captivating Wyatt character portrayed by Fonda in Easy Rider, a role that propelled him to international fame not long ago. However, beneath this disparity lies a soul yearning for discovery. Harry is a deeply melancholic individual, wrestling with his inner demons more so than any external challenges. It’s only through death that Harry finds solace and understanding of his intense need to be embraced by Arch. This film is an existential exploration, crafted by visionaries who had a deep, philosophical grasp of what it truly means to be male or female in our society, regardless of one’s sexual orientation.

The story isn’t similar to “Brokeback Mountain,” despite some shared themes, as it explores ideas that transcend Harry and Arch’s personal struggles with homosexuality. Instead, it delves into the broader theme of living within society, highlighting the silent, self-inflicted violence individuals often endure without question. Regrettably, a significant factor in the film’s initial lack of success in 1971 was the public’s expectations for Jane Fonda, based on her past roles.

In the hit biker road movie that he co-wrote, produced, and starred in, Fonda was granted complete creative control by Universal due to its success. The story’s alignment with contemporary progressive movements, however, left executives perplexed, leading to misguided marketing strategies. Frustrated by the studio’s approach, Peter Fonda openly contended with them over billboards promoting his film as a conventional Western.

It’s great news that Martin Scorsese has been a dedicated champion for film restorations and re-releases worldwide. In 2001, he played a crucial role in restoring “The Hired Hand” from the original reels that Fonda retained. After restoration, the movie was re-introduced to audiences and at last, it started gaining recognition as one of the overlooked masterpieces from the 1970s.

The Cinematography, Editing and Soundtrack Are Fantastic

Every Film Buff Needs To Watch the Hired Hand

Apart from the outstanding screenplay penned by Alan Sharp during his burgeoning Hollywood phase, Peter Fonda’s impressive directorial debut, and the exceptional performances by the cast, there are numerous intriguing aspects about “The Hired Hand“. In its initial act, it’s not just the clever plot setup that captivates, but the cinematography also draws viewers in right from the start. The familiar desert landscapes, a common trope by then, take on a unique feel in this movie due to the immersive, wide shots that create an engaging atmosphere.

The shots are extended, resulting in a more thoughtful pace for the film. Frequently, double exposures act as transitions between scenes, and numerous segments feature entire scenes that consist of single, meticulously choreographed movements. Vilmos Zsigmond, the cinematographer on The Hired Hand, played a significant role in defining the aesthetic of 1970s American cinema. Later, he collaborated on films renowned for their striking visuals, such as Brian de Palma’s Obsession (1976), and Michael Cimino’s The Deer Hunter (1978).

Crew	Role
Peter Fonda	Director
Vilmos Zsigmond	Cinematographer
Frank Mazzola	Editor
Alan Sharp	Scriptwriter
Bruce Langhorne	Music Composer

1971 was an exceptional year for me as I found myself not only immersed in the gritty realism of “The Hired Hand,” but also behind the camera for another groundbreaking revisionist Western, “McCabe & Mrs. Miller,” directed by Robert Altman. As a movie critic, I can attest that Bruce Langhorne’s work as the film’s music composer stands out starkly against the intense visual storytelling.

In contrast to the vivid imagery, “McCabe & Mrs. Miller” sparingly employs music, primarily in scene transitions. The eclectic folk compositions, with their unique blend of sitar, fiddle, and banjo, evoke a contemporary 1960s and 70s vibe that makes it difficult to envision a 1940s Western with a comparable soundtrack.

Langhorne, previously known for his musical prowess, penned tunes for a movie for the first time in “The Hired Hand”, and continued working on film projects thereafter. He also created music for Fonda’s second film in 1973, titled “Idaho Transfer”. Peter Fonda intentionally collaborated with Langhorne, Vilmos Zsigmond, and others, demonstrating his understanding of the evolving trends in cinema and music during that era. Both Langhorne and Zsigmond were significant figures in the cultural upheavals of the ’60s and ’70s, a direction Fonda aimed to follow, even though the films he directed may not have left lasting iconic impressions.

Despite Peter Fonda being widely recognized for his family’s legacy and acting career, it’s his lesser-known ventures into writing and directing that truly showcase his versatility and genius. For instance, selecting a poignant script penned by Alan Sharp for his directorial debut, and meticulously assembling an artistic team to craft the most poetic narrative, transforms The Hired Hand into a film worth seeing.

Lastly, it’s worth noting that Fonda intentionally steered clear of conventional editing for “The Hired Hand”. He chose Frank Mazzola, a former child actor turned editor who is renowned for the unconventional non-linear editing style seen in Donald Cammell films. Following his work on Cammell’s 1970 counterculture film “Performance”, Mazzola brought a similar yet distinct editing approach to “The Hired Hand”. While the editing in “Performance” is quite pronounced, that in “The Hired Hand” is less noticeable.

Both films showcase Mazzola’s unconventional approach to editing, deviating from the typical methods expected of editors. While Performance is characterized by its rapid pace, The Hired Hand employs sparse cutting only during intense action sequences, allowing each narrative segment to maintain its unique, harmonious flow. It’s worth noting that many of the double-exposure shots were created during post-production, lending a distinctly experimental aesthetic to the overall cinematography, considering the editing limitations at the time.

While Mazzola is primarily linked with Cammell now, and was known for his experimental style in filmmaking, working alongside Peter Fonda offered a unique glimpse into the editor’s diverse abilities. The seamless collaboration between artists, from the writer to the editor, in the movie “The Hired Hand“, clearly demonstrates Fonda’s exceptional directorial skills, even though he only directed three films throughout his life.

2025-05-02 05:09