Never Grow Old is a decent western but unfortunately an overall forgettable movie. It excels in its depiction of mid-1800s western life but suffers from a slow plot and unremarkable characters. Cusack is the highlight of the movie, but the overall slow pace and depressing tone make it a film most western fans will likely forget.
“Debauchery, greed, murder – welcome to Garlow. The once-peaceful frontier town is now a den of vice after vicious outlaw Dutch Albert (John Cusack) and his gang arrived – and began gunning down their opposition. Patrick Tate (Emile Hirsch) must choose between the blood money he makes burying the murderers’ victims and the threats he and his family face in this intense action-drama.” – Official Description
The movie, written and directed by Ivan Kavanagh, runs an hour and forty minutes. In addition to Cusack and Hirsch, it also stars Deborah Francois, Danny Webb, Tim Ahern, and Sam Louwyck.
Never Grow Old is a decent western but unfortunately an overall forgettable movie. While it excels in its depiction of western life in the mid-1800s, it suffers from a slow plot and unremarkable characters. John Cusack’s explosive and unpredictable Dutch Albert is the highlight of the movie, but the overall slow pace and depressing tone make it a film most western fans will likely forget.
After a near two-minute long sequence of opening production companies and logos, the film opens in the town of Garlow in the year 1849. Though officially kept in order by the local sheriff (Ahern), Garlow is really controlled by the town’s preacher (Webb). The subtle struggle for power between the two represents the conflict between legality and morality that is heavily carried and depicted by the rest of the movie. With the recent outlaw of alcohol, prostitution, and gambling, Preacher Pike proclaims that Garlow is a “true Christian town” that will serve as an example for the rest of America. However, though criminal behavior is down, so is business for most of Garlow’s citizens.
One of those citizens is Patrick Tate (Hirsch), the local undertaker and carpenter. With fewer fights and alcohol-related incidents, his services as an undertaker are in low demand. Patrick worries about his ability to provide for his wife Audrey (Francois), two small children, and the baby on the way. He suggests moving further west to California, but Audrey thinks they should stay. She argues that they have finally settled down, made friends, and are living in a good town. Audrey assures Patrick that things will get better.
Unfortunately, she’s wrong. Business continues to decline, it seems to rain every day, and the Tates are forced to put down their horse after he falls ill. While Patrick struggles to find work, Audrey has to deal with unwanted attention from a stranger in town (Louwyck).
Everything changes for Patrick Tate one stormy night when a group of three strangers arrive outside his house. They claim to be bounty hunters, and their leader, Dutch Albert (Cusack), demands Patrick take them to an outlaw who owes them money. He is reluctant but goes to keep the strangers from coming in his house. Patrick discovers not only that the new gang is planning to stay in town and re-open the saloon but also that he can quietly make some money by befriending Dutch and staying out of the gang’s way.
Cusack’s Dutch Albert is easily the highlight of the movie. With his ability to switch instantly from charming and kind to explosive and dangerous, he is the Negan of this story. Cusack also provides all of the movie’s (limited) humor. In a standout scene, Dutch Albert threatens the spouse of one of his targets and slowly and thoroughly describes what will happen when he finds the man. His unpredictable nature and threatening presence make him entertaining to watch, and Cusack appears to be having a blast in the role.
Dutch spends much of his screen time manipulating those around him in various ways. This is most clearly seen in his conversations with Patrick. Though he can use implied threats and, at times, outright violence, he instead chooses to pressure Patrick into considering him a “friend.” Dutch finds common ground between the two as businessmen and outsiders in the community. In one of their conversations, Dutch reminds Patrick that the church, and by extension the town itself, has done nothing to help the Tate family. Dutch questions Patrick’s loyalty to such a place. It’s an interesting scene that is harmed by its lighting. Like much of the movie, the only lighting sources used are torches. While it does create an effect on the faces of the actors, it leaves viewers squinting and struggling to see the full frame nearly to the point of distraction. Despite the darkness of the scene, Cusack’s performance and his character’s ability to toy with Patrick are still clearly evident.
Unfortunately, Cusack’s counterpart in Emile Hirsch’s Patrick Tate is not up to same character caliber. While Hirsch’s Irish accent for the role is . . . okay, the majority of his character’s flaws come from the writing and not the acting. Patrick is meant to be the film’s protagonist. While he is relatable, he is simply not likeable. There is no reason given to root for him or wish for his success. Patrick is also meant to be a vessel to reflect the movie’s main themes and debates about legality, morality, religion, and responsibility. To do so, he does need to be a somewhat neutral character; however, instead of reflecting an initial neutrality, he is a very passive character who almost seems to see himself as a victim of his circumstances. By the time he starts making decisions and taking action, many of his choices are so irrational and illogical that viewers will likely only feel apathy towards him.
Viewers are also likely to feel apathy towards Never Grow Old as a whole. The overall pacing is slow. Dutch Albert and the movie’s central conflict are not introduced to the plot until fifteen minutes into the movie. Those opening fifteen minutes clearly show the filmmakers’ attention to detail and historical accuracy for the settings, roles, and costumes (See the special feature “Dire Consequences” for more on the specific details and overall look of the movie) and are meant to establish normal life for the Tate family. These first minutes are deliberately slow and peaceful. It’s a stylistic choice that works for the narrative; however, after the conflict is introduced, the pacing does not pick up enough to match the threat that Dutch presents. This unfortunately leads to a rushed, depressing, and anticlimactic finale that will leave viewers feeling underwhelmed.
Never Grow Old (which is a title that doesn’t really seem to relate to the story in any way) attempts to be a new take on the traditional western but is overall a bit too slow and forgettable.
Special Feature –
“Dire Consequences: The Making of Never Grow Old” (20:22) – This is a mini-documentary looking at the making of the movie, its sets and locations, casting process, costuming, music selections, and historic accuracy. It’s an informative look hosted primarily by writer/director Kavanagh and does a nice job of both connecting the movie to other westerns and also distancing it as its own unique take on the stereotypical “western.” However, the Blu-ray and Digital combo may have benefited from additional features to accompany the mini-documentary.
Takeaway –
Never Grow Old is a decent western but unfortunately an overall forgettable movie. While it excels in its depiction of western life in the mid-1800s, it suffers from a slow plot and unremarkable characters. The visual style often relies too heavily on dark, night scenes illuminated only by torch lighting. Though the special feature, “Dire Consequences,” is a nice look at the making of the movie, the release could have benefited from the inclusion of additional special features. John Cusack’s explosive and unpredictable Dutch Albert is the highlight of the movie, but the overall slow pace and depressing tone make it a film most western fans will likely forget.
