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Based on the novel by Max Evans and directed by Stephen Frears, The Hi-Lo Country charted a long and circuitous route to the big screen, and the final result proves that the material posed a major--and perhaps insurmountable--challenge for screen adaptation. It's easy to see why this contemporary Western was once a coveted project of director Sam Peckinpah; its codes of honor, male bonding, and hardened morality would've played nicely into Peckinpah's artistic legacy. There are clear echoes of Peckinpah in the screenplay by Walon Green (who wrote The Wild Bunch), and while the movie is blessed by Woody Harrelson's vivid performance as a reckless latter-day cowboy, Frears fails to maintain a compelling tone and the rest of the cast nearly fades into the background. Billy Crudup (Without Limits) plays Harrelson's best pal, just returned to New Mexico from service in World War II with hopes of starting a cattle ranch free from the greedy clutches of a local rancher (Sam Elliott) who dominates the town of Hi-Lo like a bootclad kingpin. Harrelson joins in the effort, but tensions rise when he connects with the sultry seductress (Patricia Arquette) with whom Crudup has fallen inexplicably in love. Harrelson has provoked others as well, and he seems primed for a fall, but The Hi-Lo Country is a film out of balance. Memorable moments are found in abundance, and the film's period detail is impeccable, but Crudup's character is so underwritten and underplayed that his role as narrator and ostensible hero has minimal dramatic impact. By the time fate deals its inevitable blow, it's too late to care. Frears has suffered from similar missteps before (remember Mary Reilly?), and The Hi-Lo Country leaves you wondering what Peckinpah might have done with the novel he so dearly admired. --Jeff Shannon
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