Maverick, a name synonymous with Mel Gibson’s charismatic persona, stands as a true icon in American cinema. Within the realm of Western comedy movies, it undoubtedly secures a place within the top echelon. Emerging in the wake of unsuccessful attempts to adapt “Red Kit” (Lucky Luke) for the screen in the early 1990s, the spirit of Roy Huggins’s 1950s “Maverick TV-series” was revitalized. It cleverly incorporated the whimsical charm of Hanna-Barbera’s “Lucky Luke” cartoon series from 1984, culminating in a fresh, contemporary “Maverick” penned by William Goldman. While echoes of the legendary Lucky Luke resonate, Maverick’s narrative carves its own distinct and captivating path. This review will delve into the heart of the movie itself, setting aside discussions of production intricacies. We invite you to share your own perspectives on the common threads between these two Western titans in our dedicated forum topic: “40 factors that Lucky Luke and Maverick have in common”.
Director Richard Donner immediately plunges us into an action-packed adventure, reminiscent of picking up mid-story in Maverick’s already eventful life. From the outset, we find our protagonist ensnared in a perilous predicament orchestrated by the villainous character brought to life by British actor Alfred Molina. As Maverick teeters on the brink, seemingly facing imminent demise, the age-old adage rings true: “A person recalls his life just before he dies.” Thus begins Maverick’s tale, a recounting of the bizarre yet endearing journey that led him to this critical juncture. His mission? To amass the necessary funds to participate in a high-stakes poker tournament, a quest that unfolds across a series of captivating escapades throughout the land.
What truly distinguishes Maverick and cements its unique style is its pervasive mood. A subtle undercurrent of political film-noir permeates the narrative, surfacing with each new character we encounter. Remarkably, every character, even in brief cameo appearances, embodies selfishness, rebellion, and a disregard for the law. Robbery, racketeering, murder, gambling, and bribery become commonplace traits, almost prerequisites for inhabiting this world. The town sheriff is entangled in debt with outlaws. A supposedly upright police chief brazenly steals the $500,000 poker tournament prize from his own son. The police chief’s son? A bandit himself. And this patriarch, lauded as the epitome of Western American law enforcement, doesn’t hesitate to pilfer from his only child. Even the initially charming Annabelle, portrayed by Jodie Foster, is driven by opportunistic tendencies, attempting to swindle every man she meets, even stooping to pilfering from a deceased wagon rider. This inherent absurdity, coupled with a strange sense of plausibility, is what elevates Maverick to the pinnacle of dreamy Western adventure lands ever witnessed by audiences.
With such a grand achievement in atmosphere and character, minor plot inconsistencies fade into insignificance. Perhaps the portrayal of Indians leans towards excessive friendliness (a trend arguably influenced by “Dances With Wolves,” which seemingly ushered in an era of unusually amicable Native American depictions in Westerns). Maybe some bandits come across as overly sentimental. The set designs might occasionally appear budget-conscious or distracting. Sound effects and audio quality could be perceived as rudimentary. Yet, the film’s strength lies in its craggy, zigzagging narrative style. This unconventional editing approach perfectly serves the story, constantly unveiling unexpected twists and turns. The narrative’s non-linear structure compels viewers to actively engage, seeking to decipher the motivations behind each character’s actions. Furthermore, the cinematography and direction of photography are undeniably commendable. The breathtaking backdrops span the rivers of Arizona, the highlands of Oregon, the canyons of Utah, the prairies of Washington, and the iconic Yosemite National Park in California. It’s akin to a wonderfully misleading tour of the Western states; Maverick declares his destination as a poker tournament in New York, while geographically, he seems firmly rooted in Yosemite. Despite its visual splendor, Maverick only garnered an Academy Award nomination for Costume Design, ultimately losing to the Australian desert comedy “The Adventures of Priscilla, Queen of the Desert,” recognized for its flamboyant costumes.
Maverick possesses universal appeal. Its blend of humor and film-noir infused Old West comedy makes it a worthwhile viewing experience. Beyond the comedic elements, the film offers captivating Poker sequences, Road Trip vistas, Adventure elements, classic Cowboy Gunfights, and even poignant moments of Living with the Indians. For anyone seeking a lighthearted yet engaging Western adventure, Maverick delivers in spades.
