Don't Make a Scene: Silverado

The Story:  The things you do for a dog.

"Man's best friend," they say.  But in The Wild West, it's every critter for itself.  Except for some men.  Lawrence Kasdan's homage to all things Western, "Silverado," tears a page out of the scripts of many horse operas and saddles them together to make an uber-western about the taming of one corner of The West.  It's got everything: good guys, bad guys, bad good guys, cattle rustlers, corrupt cattlemen, Laws of the Land and bad law-men, buffalo soldiers and British sheriffs, short saloon-keepers and tall drinks of gamblers, every kind of gun-fight you can imagine, and a jail-break or two.

And a shaggy "dog" story.

But it's a story with a purpose.  Because it's really about loyalty.  William Holden's "Pike" in "The Wild Bunch" gives voice to "The Sam Peckinpah Credo" of the Western: "If you ride with a man, you stay with him, or else you're just some kind of animal."  Loyalty, in a word.  Truth to your Word.  But, the story of Paden and the dog has been mentioned many times—often tauntingly—previously in the story "Silverado," and it's only now, like so much of Paden's shady past, that it comes out after the fact, to explain away (if one can) the one member of the loose quartet of gun-men that one is not sure of where he stands.  The loyalty of the others, and to whom, is not in question.

But Paden, former gambler, saloon habitue and outlaw, who we first meet in his long underwear staked out in the desert, like he dropped out of the sky, no one knows what side of the line he stands.  And which side of the line he's going to choose.

And as "it's the singer, not the song," it is also the story-teller, not the story; The story reveals more about Cobb than it really does about Paden.  For Cobb, it's a story about Paden's lack of loyalty and dependability, and it is a warning to Stella to be wary of how Paden can turn like a wild horse.  For this Sheriff with a tarnished star, loyalty is more important than morality—Cobb never mentions what 'business" he and his crew were involved in, but it can't be any good.  And Paden sacrifices his loyalty to the alleged outlaws to save an unfortunate, even if it's fool-hardy, something that makes him a target of derision.  Something that makes him a wild card, someone to be wary of, in a town without pity.  It's a story of warning to the saloon-keeper from her duplicitous Boss, but depending of the listener, it might also be an assurance.

Directorily, it's a simple set-up for director Kasdan: he follows the talkers into the bar, elegantly frames Cobb between the Mutt and Jeff combination of Jeff Goldblum and Linda Hunt.  Then, when Cobb tells his story—a bit ruefully, a little ticked, still—Kasdan makes Brian Dennehy the sole focus, until the line "Paden's off his horse and holding the dog..." at which point in the slightly hazy distance, Paden swings in, gradually sidling up to the bar, taking the long way, looking a might hurt that Cobb is telling stories out of school.  As Paden gets closer, Kasdan moves back into the group.  Very neat, that shot, during the story we see Paden enter, recognize him and anticipate a reaction.  There's a lot going on for something so simple.

One thing I've always admired about "Silverado" is its precise screenplay.  Things are there for a reason, and if they're not the primary focus, then they're there as sub-text, rattling around.  The words "he left (Paden)" are used quite a bit in the script, accentuating the character as a lonely drifter, but words will not be used to complete his character arc; it will be one silent image.

"Silverado" is a lot of fun to watch and analyze, and although a Western may seem trivial next to other things Kasdan has done, this is is one of his best movies.

The Set-Up:  Things are shaking up the little frontier town of "Silverado:" Under the baleful glare of Sheriff Cobb (Brian Dennehy), things are mighty cozy with the business interests and ordinary citizens have to watch their backs...and their land...and their cattle.  Into town ride four strangers (Kevin Kline, Scott Glenn, Danny Glover and Kevin Costner) and they're already disturbing Cobb's peace.  But tonight, Cobb is in a reflective mood, so he tells his diminutive saloon-keeper Stella (Linda Hunt) and the newly-arrived gambler, Slick, (Jeff Goldblum) a little bit about their mutual friend and partner Paden (Kline).

Action!

INT. SALOON - MIDNIGHT STAR - NIGHT

Cobb and Stella come out into the saloon, which is not yet crowded. Stella moves up her ramp behind the bar as Cobb walks along in front of it.

STELLA From what I've seen, Paden doesn't care much about money.

SHERIFF COBB He says he doesn't care about anything, but he does.

SHERIFF COBB There's just no telling what it's going to be.

Slick is standing at the bar. Cobb settles in next to him. They nod at each other.

SHERIFF COBB Howdy, Mr. Slick.

SLICK Sheriff.

Cobb turns to Stella, who has put a bottle before him and is pouring Cobb and herself drinks. Cobb seems to be including Slick in the following story, though he addresses Stella.

SHERIFF COBB Let me tell you about your friend Paden. Me and him and Tyree and a few other boys did a good bit of riding together a few years back. Business, you know, and business was pretty good.

SHERIFF COBB We were moving around a lot, the way you have to in that work, and somewhere along the line we picked up this dog.

SHERIFF COBB One of the boys took to feeding it, so it followed us everywhere.

SHERIFF COBB Anyway, this one time we were leaving a little Missouri town in quite a hurry, with a bunch of the locals on our tails.

SHERIFF COBB The dog somehow got tangled up with Tyree's horse and Tyree went flying. Tyree was pretty mad when he jumped up, and Tyree being Tyree...

SHERIFF COBB...he shot the dog. Didn't kill him, though.

SHERIFF COBB Before you know it, Paden's off his horse and holding the dog.

SHERIFF COBB He'd gone all strange on us. Said we should go on without him.

SHERIFF COBB I thought he was kidding at first. But he wasn't.

SHERIFF COBB Tyree was ready to plug 'em both. And all this with the posse coming down on us.

SHERIFF COBB Here I thought we were pals after all that riding. And suddenly he's more worried about a mutt.

SHERIFF COBB So we did like he asked and left him.

SHERIFF COBB He went to jail for a dog.

Stella has been listening intently. Now her glance shifts: Paden has walked up beside Cobb. Cobb lifts his glass to Paden with a grin, but speaks to Stella.

SHERIFF COBB And you want to hear the funny part?

SHERIFF COBB Paden didn't even like the damn dog.

Paden gives Cobb an odd glance but smiles.

PADEN It evened out in the end. They locked me up, but the dog sprung me.

Cobb and Slick laugh, but Stella just watches Paden.

STELLA Where's the dog now?

PADEN He left me.

"Silverado"

Words by Lawrence Kasdan and Mark Kasdan

Pictures by John Bailey and Lawrence Kasdan

"Silverado" is available on DVD from Sony Home Video

Silverado

Silverado (1985)

What a Western is, is a picture frame, and you can put any kind of picture you want in there. With Westerns you have the landscape is important, and it's empty, and only you populate it. When you populate it, you can tell any kind story that Shakespeare told, you can tell in a Western.

Lawrence Kasdan interviewed March 21, 2003 IGN.com


"Now, I don't wanna kill you and you don't wanna be dead".


Silverado is like every Western you have ever seen and, inevitably, like no other. It feels like it is director Lawrence Kasdan's homage and reinvention to the Westerns of his past in the way that his screenplay for Raiders of the Lost Ark seemed to be his updated tribute to the Saturday morning serials of his youth. It has just about every cliché you can remember: the four heroes with their code of honor who come riding across the scrubland; the crooked sheriff; the rapacious cattle rancher; the vulnerable wagon train; the saloon; the whore with a heart of gold; the slick gambler (called Slick); the classic Western town; the final gun duel in the empty street; the gun slinger with his twirling Colt 45's; a rousing score by Bruce Broughton that sounds like every Western score you have ever heard and most of all, 'that' landscape and so on and so on. Copies they may be but ones that have a faithfulness that comes from an appreciation for the genre rather than a mockery.

Kasdan keeps the action going with a shoot-out every fifteen minutes even as it builds to the classic confrontation. The script fairly crackles with cowboy dialogue melded with witty one-liners. Even the anachronisms seem to work: an African-American gunslinger (Danny Glover) and a feminist pioneer (Rosanna Arquette). Yet the movie has a modern sensibility too - the heroes aren't quite the pure 'white hats' - Kevin Kline plays Paden, a drifter, who is happy to casually kill a man for stealing his hat even though he will risk jail to save a stray dog and throws his lot in with the villainous Sheriff Cobb (Brian Dennehy) before he is forced to act on his better instincts. Kevin Costner is surprisingly bearable (given his later outings) as the happy-go-lucky sociopathic brother of Scott Glenn who comes to the rescue time and time again. Added to this you also get John Cleese as an ex-pat sheriff and Jeff Goldblum , the aforementioned Slick as well as Linda Hunt, who comes close to stealing the whole movie as Stella the owner of the Midnight Star Saloon.