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In the 1860s, five men have been tracking a sixth across Nevada for more than two weeks. They shoot and wound him, but he gets away. They pursue, led by the dour Carver, who will pay them each $1 a day once he's captured. The hunted is Gideon, resourceful, skilled with a knife. Gideon's flight and Carver's hunt require horses, water, and bullets. The course takes them past lone settlers, a wagon train, a rail crew, settlements, and an Indian philosopher. What is the reason for the hunt; what connects Gideon and Carver? What happened at Seraphim Falls? Written by
The sunset shown about 47 minutes into the film, when Gideon descends the mountain, was also featured in the final shot of The Astronaut Farmer (2006). Both films were in production in New Mexico at the same time, albeit many miles apart. See more »
During the scenes in the railroad camp, numerous extras are seen flailing away at the new railroad tracks with spike hammers, despite no one actually installing any spikes. In one particularly obvious scene, two teams of laborers drop two rails on the roadbed side by side, then immediately start hammering randomly on them, without anyone actually placing any spikes, or even bothering to gauge the distance between the rails. See more »
Well, we definitely got I'm. I wouldn't say gut shot, but got 'im pretty good.
He didn't even take his rifle. Horse run off though.
It's cleared up some. Why don't we get a move on.
Let him bleed...
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SERAPHIM FALLS is an odd film, one that on the surface appears to be an homage to the old Westerns, but proves to be a psychological battle for survival between two men engulfed in revenge. There is very little story to relate: Carver (Liam Neeson) with a small posse of bounty hunters (Michael Wincott, Ed Lauter, John Robinson and Robert Baker) treks Gideon (Pierce Brosnan) through snow, forests, mountains, rough water, and desert over a Civil Ear seed of hate. The 'story' fades to a philosophical stance (somewhat clumsily) by the intervention of some ghostly creatures (Anjelica Huston, et al) and ends without much more than a whisper of a memory about the futility of revenge.
Bronson and Neeson do well with their scant dialogue, revealing more of their character's minds with physical action and the power of facial expressions. The mood of the film is in the superior hands of cinematographer John Toll and Harry Gregson-Williams' musical score. Director David Von Ancken keeps the tension at peak level even though the film is desperately in need of editing (just under tow long hours in length). But for a diversion and an appreciation for the wilderness of America in the mid-nineteenth century, SERAPHIM FALLS is a visually satisfying experience. Grady Harp
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