Childress is effective, Stanton’s Shadrach’s genuine, De Almeida’s French major controlling, and Garner’s Clara reflects an overly protected girl’s image of herself. The forging of friendship between Call and Gus is the centerpiece, and, though Duvall and Jones toss a long shadow for the well-cast Arquette and Miller to step into, the younger actors make the men-to-be discernible and likable. (His work under the opening credits is brilliant.) Events often surprise - sudden arrows, an execution, mysticism, suicides, leprosy - while courage and camaraderie logically turn up. In part two, after negotiating circles of burning Comanche fire paths, the much-diminished group’s adventures turn dismally dry as the folks drag across the parched desert known as Dead Man’s Walk.Ĭinematographer Edward Pei’s stunning compositions and ways with color are particularly effective in the diamond-clear Texas air. Director Simoneau guides the McMurtry-Diana Ossana teleplay with unfaltering skill during the first two hours. McMurtry’s creations leap into striking vignettes, amusing situations, grim developments. Laroche (Joaquim De Almeida) of the Mexican Army, arresting Salazar for his laxity, arranges several formal executions.Ī black-veiled Lady Carey (Haviland Morris), one of McMurtry’s more uncanny characters, appears as a form of purification. Salazar (Edward James Olmos, reserved and at ease) captures the protagonists. Dobbs director, Yves Simoneau writers, McMurtry, Ossana based on the novel by McMurtry A Mexican Army detachment under Capt. Executive producers, Robert Halmi Jr., Larry Levinson, Larry McMurtry, Diana Ossana, Suzanne de Passe co-producer, Frank Q. TX: TX:Filmed near the towns of Lajitas, Alpine, Brackettville and Del Rio, Texas, by Saria Co., de Passe Entertainment, Levinson Prods.

Larry mcmurtry's dead man's walk