American Primeval Series-Premiere Recap: Mud and Guts

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Enhancing a title’s depth and significance can often be achieved by incorporating “American” into it, such as transforming “Hustle” into “American Hustle,” “Gangster” into “American Gangster,” or “Pie” into “American Pie.” However, the challenge lies in ensuring that the addition of “American” feels warranted, especially when used with a powerful word like “primeval.” The title of the new miniseries, “American Primeval,” penned by Mark L. Smith and directed by Peter Berg, may initially seem like an exaggeration. But once you press play on the first episode, it swiftly unveils itself as a tale from the dark core of a nation still in the midst of self-discovery, realizing that its identity would be etched in blood.

The story American Primeval unfolds in 1857, prior to the onset of the Civil War, yet in a region marked by unique borders. As the initial scenes reveal, this area, then referred to as Utah Territory, was embroiled in a complex power struggle involving the U.S. Government, Native Americans, The Church of Latter-Day Saints claiming it as their promised land, westward pioneers seeking a better life, and various other inhabitants and travelers. Within these groups, there are numerous subgroups pursuing their individual agendas. While the situation may be intricate, they all communicate in the common tongue of conflict.

To begin with an economical description, the opening shot reveals a remote location in Missouri. The protagonists, Sara Rowell (Betty Gilpin) and her son Devin (Preston Mota), have arrived at their destination by train, which is as far as it could take them. Sara’s attire is stylish, while Devin carries a worn copy of Oliver Twist with him, along with a leg brace. They seem to be underprepared for the challenging landscape ahead, but appearances can be misleading, and sometimes being prepared isn’t enough in itself.

Sarah exhibits a peculiar blend of urban discomfort and enigmatic charm. A brief exchange with her son unveils that they are Philadelphia natives, eager to depart from their old life and journey towards Utah instead of their previously discussed destination, California. An ensuing dialogue with John Frye (Clint Obenchain) sheds minimal light on their itinerary, except for Sara’s eagerness and forthrightness, showing no hesitation in voicing her opinions bluntly without worrying about politeness. She is determined, having a clear vision of her objectives and what she has invested in, intending to claim it without delay.

However, Sara had imagined Fort Bridger as a tranquil trading post as Frye described. Instead, she finds herself in a sludgy, likely foul-smelling locale filled with grubby men and broken vows, starting with the mysterious disappearance of Mr. Beckworth, her hired guide to Crooks Springs. Frye proposes to continue the journey, an idea Sara hesitates to accept. Yet, this proposition quickly becomes irrelevant when Frye is gunned down by a French-speaking individual offering his services. Clearly, this place isn’t as peaceful as she had been led to believe! ” ‘Civilization’ and ‘civilized’ are two distinct concepts,” Jim Bridger (Shea Whigham), the fort’s creator, enlightens them. (If American Primeval was a film, that would make an excellent tagline.)

Bridger, a historical figure portrayed in American Primeval, was once a mountain dweller who settled down. He’s presented as a practical man, with a focus on survival and potentially shaping an area that could one day be referred to as ‘civilized’, although it might not during his lifetime. Despite being willing to assist Sara and Devin, his help mostly consists of informing them about the harsh realities of their current situation. The weather is unfavorable, and they face numerous threats such as conflicts between Mormons, Native Americans, outlaws, wild animals, and others outside the fort’s walls (regardless of any violence they may have already witnessed within the fort). It’s suggested they might be safer staying put. However, for some reason, Sara refuses to consider this option as a solution.

It seems they’re running out of choices. Firstly, Bridger proposes approaching Isaac Reed (Taylor Kitsch), a rugged individual residing beyond the fort. Despite Sara’s reservations about his stern personality and nonchalant attitude towards nudity, she extends an offer to him. However, Isaac swiftly declines her proposal. This leaves them with no other choice but to consider Plan C.

Sara’s arrival happens at the same time as a band of LDS pilgrims, among whom is Jacob Pratt (played by Dane DeHaan), a man deeply religious. Accompanying him on this journey is his wife Abish (Saura Lightfoot-Leon). Abish is not just any wife to Jacob; she is his first and, so far, only one. This he shares with the slightly intrusive and impolite locals of Fort Bridger. Fearing the company of a guide with questionable ethics or traveling with soldiers, Sara begins to view the Pratts and their group as an alternative plan, even to her backup plan.

Initially, Jacob has a different perspective from the rest of the group regarding their plans to join Alexander Fancher’s expedition. He’s hesitant about inviting anyone else along. However, a gentle nudge from Abish causes him to reconsider, and for the first time, Sara shows a smile. After expressing her gratitude, Sara confides in Abish that she feels vulnerable traveling alone, given the harshness of the world they inhabit. Abish empathizes, reminding her, “Isn’t that why we got married?” Their shared glance implies they both understand the potential dangers they may face.

Elsewhere in Fort Bridger, there’s also tension. Just prior to Sara and Devin’s arrival, we observe an Oglala Lakota girl, later known as Two Moons (portrayed by Shawnee Pourier), sneaking a knife. Later that night, she uses it to defend herself against a man trying to assault her, resulting in his death. The nature of her relationship with the deceased remains ambiguous (referred to as “Arapho Man” in the credits), but what is certain is that Two Moons has faced such attacks before. After the man’s death, her mother tries to dissuade him but scolds Two Moons, saying, “Now we have nothing.” To which Two Moons responds, indicating with her hands that she’s always been in this situation, before disappearing into the night. The following morning, she is found in Sara and Devin’s wagon, a fact that Devin chooses to keep secret.

It’s not just Devin who has a secret; back at Fort Bridger, a stern-looking fellow named Virgil Cutter (Jai Courtney) observes as a bounty hunter displays a wanted notice for a woman named “Sara Holloway”. Interestingly, Sara Holloway bears a striking resemblance to Sara Rowell. Bridger notices the similarity but feigns ignorance. For now, this is beneficial for Sara, but the positive outcome might not persist for long. However, things could soon take a turn for the worse, not just for Sara, but also for the bounty hunter when Virgil and his group assassinate him later that night, initiating their own pursuit.

Upon their arrival at Fancher’s camp, the Pratts and their group find themselves in an immediate predicament. As they settle down, Fancher encounters a troubling situation when a group of armed Mormons, led by James Wolsey and accompanied by a Paiute tribe member, appear. This territory falls under Governor Brigham Young’s jurisdiction, and Young is not fond of unexpected guests, especially those who claim they will leave at dawn. In truth, Young has imposed martial law due to the past mistreatments faced by his people. During a tense exchange, Fancher refuses to comply with the Mormons’ demand to leave, using derogatory remarks and veiled threats. James and his men then depart, but Fancher anticipates trouble and orders his men to stand guard. He also positions the newly arrived Mormons on the perimeter as a deterrent, assuming they wouldn’t want to harm their own people (a presumption that might not hold true).

As the sun dips below the horizon, the travelers gather around a shared meal and swap tales. Sara’s story is indeed a work of fiction, but Jacob shares sincerely about his marriage to Abish following the demise of Abish’s sister Eden, who was once betrothed to him. “God took Eden from us and brought Abish to me at the perfect moment for this journey,” Jacob explains to her. While Jacob appears content with God’s design, Abish, conversing privately with some of the other wives, seems less than fully convinced.

Despite the deception and tranquility that prevailed beforehand, the peaceful atmosphere suddenly turned violent upon the arrival of an arrow piercing one of the Mormon women’s skull. In the ensuing chaos, a band of hooded men and Native Americans (or men disguised as Native Americans) indiscriminately killed everyone in sight. Fortunately, Sara and Devin managed to flee to some nearby undergrowth where Isaac had been watching over them. However, their escape was observed by James and the Nauvoo, who were determined to eliminate any witnesses (contrary to Two Moons’s successful escape). The female survivors like Abish were also targeted for elimination, although it was decided that leaving them with the Paiutes would be equivalent to killing them. Sara and Devin faced a harrowing night ahead as Isaac warned them against building a fire if they wished to survive. On the other hand, Jacob, though left for dead after being scalped, miraculously survived the massacre. Groggy and covered in blood, he stood up and initiated his search for Abish.

Bullets and Arrowheads

The gruesome massacre sequence serves as the focal point for this debut, leaving no doubt that “American Primeval” promises a turbulent journey. Western narratives typically range from straightforward good-versus-evil conflicts to gritty reinterpretations of the American Frontier. “American Primeval,” heavily coated in grime and gore, falls squarely into the revisionist category (even Peckinpah might have winced at some of its visuals). However, the brutal narrative and uncivilized backdrop appear to warrant such a graphic portrayal.

In essence, “American Primeval” is based on real-life occurrences, and these events are far from a simplified retelling. The event that’s now referred to as the Mountain Meadows Massacre extended over several days, but for dramatic purposes in the book, it has been condensed into a single assault. In the narrative, the Nauvoo Legion, accompanied by Paiute fighters, did indeed ambush the Baker-Fancher wagon train and tried to make it seem as if it was solely an attack by Native Americans. The massacre was part of a series of violent confrontations that took place as various groups, including the government, Mormons, Native Americans, and others, fought for dominion over the land. Keep in mind that “American Primeval” is not strictly factual, but it’s also not entirely fictional either.

• In “American Primeval,” director Richard Linklater reunites with actor Taylor Kitsch, who starred alongside him in the TV series “Friday Night Lights” that Linklater developed following the big-screen adaptation of Buzz Bissinger’s book. This reunion also includes Explosions in the Sky, as the instrumental rock band composed the score for Linklater’s film and occasionally featured their music on the series.

The creator and writer of the show, whose body of work also features two films directed by George Clooney (“The Midnight Sky” and “The Boys in the Boat”), as well as this summer’s success “Twisters”, bears a striking resemblance to “American Primeval” due to its connection with “The Revenant”, a film he co-wrote with Alejandro G. Iñárritu, which seems like its most immediate forerunner.

When Devin queries Bridger, “How is a structure such as this constructed?”, his response, “You create it,” encapsulates much in just three words that echoes far beyond Fort Bridger and reflects the essence of the entire series.

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2025-01-09 16:55