While the film has elements of classic Westerns, it also subverts the genre.
A scene from “The Dead Don’t Hurt” with Solly McLeod, Viggo Mortensen and Atlas Green. – there’s a killing in a Nevada bar, a lawman shot down on a dusty street and a trial in which the rich and powerful protect the guilty and railroad an innocent man, which culminates in his hanging. The sheriff, Holger Olsen , who has just buried his beloved wife, is disgusted by what happens and turns in his badge, taking his son and riding off.
Q. “Falling” was personal for you in terms of parent-child bonds and being a caretaker for someone with Alzheimer’s. With this one you’ve said you started with an image of your mom as a girl in the woods, playing out the stories she later told you. That’s the launching point for this story; where did the rest come from?
Q. Did you see this as a Western or was that just a framework for your character study and love story? Q. I think those opening scenes will draw people in, but I wonder about people who come in with expectations of a Viggo Mortensen Western, whether they’ll expect you to be Aragorn as a sheriff. Between 1910 and 1960, there were probably over 7,000 Westerns made. Maybe 1 or 2% were really good movies. But that’s true in any genre. And there are some really profound ones, original films that weren’t just regurgitating the same storylines and superficial mythology of the West and the foundation of the country. The ones that are good are on a level of poetry, as profound as anything that human beings have come up with in terms of stories.
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