Recently showcased amidst the consortium of pieces featured in the Burbank Film Festival, The Redeemer is a short film stylistically redolent and respective of traditional western dramas that was written and directed by Harry Locke IV. Despite the film’s adherence to certain visual and structural elements intrinsic to the western genre, its narrative and characterizations demonstratively deviate and transcend the more predictable, antiquated aspects inherent to such plots which often incorporate themes of vengeance and justice. For instance, revenge has been notably employed in films as the paramount motivational factor to incite the protagonist to action, specifically through the death of their family or loved ones. The Redeemer subverts and expands upon this trope, first by the alteration of its common gendered construct that designates for the female character to be “fridged”, or sacrificed early in the film for the purpose of incentivizing the male protagonist. Instead, the Comanche woman, Moon, has her journey instigated by the violent elimination of her husband and daughter, allowing her the agency to pursue what she considers equitable justice against the female outlaw who enacted this sanguinary contravention.
The general conversation surrounding motivation and the righteousness of action is conducted brilliantly throughout the short film, and each character regards their personal decisions with depth and purpose. Though vengeance is the predominant impetus for Moon, she refuses to be corrupted by the questionable ethicality of her behaviors and seeks to find further reason for her existence apart from the altercations and tragedy that have thus plagued her. Her companion, Jackson Bullock, approaches his motivation for pursuit of justice with hesitancy and trepidation, cognizant of the potential for brutality which he inherited from his father and determined to avoid the possible titillation of these latent inclinations through the enactment of revenge and bloodshed. The contrast between Moon and Jackson’s perceptions of their collaborative efforts creates an intriguing dynamic which discusses the efficacy of vengeance, its ability to damage or permanently stain the temperament of one on the precipice of violent tendencies, and the prospect of relying on the concept of “justice” as a defense of the righteousness of all future behaviors. The primary antagonist, Bronagh Bullock, also embodies compounded motivations that transcend a desire for money and power, or a pure enjoyment in causing chaos born from a natural ebullient malevolence. Through her interactions with her brother Jackson, it seems evident that, in conjunction with these aforementioned personal incentives, Bronagh also harbors a pronounced need of recognition and acceptance from their infamous father. Consequently, she further resents Jackson for the castigation she received at the hands of their father when he unexpectedly expresses disdain over Bronagh having supposedly killed Jackson. Her inability to fulfill the role of heir and having incited her father’s ire over the destruction of the brother who betrayed his family and denied his inner propensities understandably accrues additional fervency to her hatred towards this brother and explicates the vehemence of their final confrontation. In a sense, the interlaced and aberrant motivations for each character evince notable complexity which elevates the encompassing experience of The Redeemer beyond the more simplistic revenge vs. justice narrative that frequents the genre of traditional western films.
With regards to the general composition and appearance of the short film, The Redeemer is demonstratively evocative in its purposeful implementation of color and visual imagery, which invokes a sense of cohesion across its duration. In particular, the staccato use of vivid red hues in the costumes and blood stains contrasts the muted, deeper filter and natural tones that comprise the film. The designs donned by Jackson and Moon throughout their triumphant, gruesome altercation with Bronagh’s gang also contribute to the conveyance of their reciprocal partnership, given the striking and matching red, white, and black colors featured in their respective clothes and makeup. Additionally, consistent, attenuated visual symbolism is achieved in the presentation of the backgrounds that underlie the film, specifically, the appearance of the clouds and sky. The opening narrative text is layered above an image of a pristine, blue sky, which immediately transitions to a beautifully composed shot of Jackson and his father figure standing amidst turbid storm clouds and imposing reticulations of lightning. It is possible to interpret this as symbolic for the incipient torrent of violence and anguish which would bluster forth and set upon the protagonists throughout the remainder of their journey. The final exchange between Jackson and Moon transpires before a cloudless, blue sky, potentially representing the dissipation of their current difficulties and the emergence of a liberated new future of their own choosing.
Though perhaps the opening text might not have been necessary, the writing and dialogue across the short film was naturalistic in tone and delivery, which contributed to the general verisimilitude of the piece. Overall, The Redeemer was a well-paced and composed film that dexterously cultivated a unique group of characters and complex narrative which cleverly adhered and subverted various trends concomitant with the traditional western genre.