Monday, August 06, 2018
The stilted cowboy poetry of 'The Rider'
Brady Jandreau plays Brady Blackburn, who when the movie opens has just checked himself out of the hospital against medical advice following a serious head injury suffered in the rodeo ring. After a fairly graphic scene of Brady using a knife to pry out the staples holding a bandage to his head wound and a reunion between Brady and his dad Wayne (Tim Jandreau), the movie cuts to some amount of time later, with Brady’s hair now mostly covering the scar on his skull, although he’s clearly not completely recovered.
Brady also spends time visiting his buddy Lane Scott (as himself), another former rodeo star who’s now mostly paralyzed and unable to speak, living in a full-time care facility. They watch videos from Lane’s rodeo glory days and even prop Lane up on a makeshift saddle to practice riding as if he, too, could someday return to the ring. These are the scenes that feel the most exploitative, as Scott (like Jandreau) suffered very real injuries (albeit in a car accident, not in the rodeo), as is readily apparent in his performance.
That South Dakota scenery is one of the movie’s major assets, and Zhao and cinematographer Joshua James Richards take full advantage of it, shooting gorgeous vistas of empty, open prairie, capturing the loneliness and isolation (along with beauty and tranquility) that surround the characters. Zhao immersed herself in the South Dakota Native American community for both The Rider and her debut feature, 2015’s Songs My Brothers Taught Me, and her affection and respect for the culture and the people come through in the film she’s made. It’s a lovingly shot ode to a dying corner of American society—it’s just not particularly effective as a dramatic narrative.
Available on home video tomorrow.