Unlike the cartoon I reviewed in last week’s post, this isn’t a simple adaptation of the Washington Irving story. It’s a “reboot” (although I don’t think that term was used in that sense in 1999) directed by Tim Burton, the go-to director for weird horror-comedies.
Ichabod Crane (Johnny Depp) is now not a school teacher, but a police detective, investigating a series of murders committed in the town of Sleepy Hollow, supposedly by the Horseman. Brom Bones (Casper Van Dien) is just a mook who gets killed off early on. Katrina (Christina Ricci) is still a wealthy farmer’s daughter, but she also becomes Ichabod’s sidekick in solving the “mystery.”
Okay, I put mystery in quotes because there’s some tangled conspiracy where, for some reason, Katrina’s stepmother Mary (Miranda Richardson) has summoned the ghost of the Hessian soldier to avenge her family and also kill off a bunch of people relating to some land dispute among the families of the region.
And this is where I have to stop the review and say that if you’ve written a story about people who have summoned demonic ghosts from Hell in order to win some petty Hatfields-and-McCoys feud over who owns a piece of land, you should stop and think very carefully over whether this makes any sense whatsoever. The Headless Horseman is supposed to be the spirit of a soldier seeking revenge for his death in a strange and foreign country, to which he most likely was sent against his will. He is not some hired gun to be enlisted for the purpose of settling real estate disputes.
This cheapens the Horseman irrevocably, and turns him into nothing more than a Final Boss that Johnny Depp must defeat by finding the right McGuffin. Not good, not good at all. The Headless Horseman is literally a part of the haunted, bewitching landscape of the glen, with its dreamy atmosphere and pervasive sense of history. He must be treated as such; not as something which can be controlled or seduced—no, not even by you, Miranda Richardson!
You’ve probably figured out by now that I don’t like this movie, and you’re right. I wanted to like it. It’s creepy; it’s got a macabre sense of humor, and it has a great cast. I’m not a huge Depp fan, but look at some of the supporting players! Besides Richardson, you’ve got:
-Christopher Walken is the Horseman. Walken is a great actor to play villains and a famed cinematic weirdo. His performance is fine, but the Headless Horseman is not a villain! He’s a spirit! A dream! An embodiment of the unknowable and mysterious rift in the fabric of time and reality itself that seems to exist in the haunted region! Not bloody Max Zorin!
As if that weren’t enough, we also have not one, not two, but three Sith Lords:
-Ray Park is the Horseman during action/stunt sequences. He’s most famous as the guy who played Darth Maul and participated in one of the best cinematic duel sequences ever. His talents are used to minimal effect here.
-The late, great Christopher Lee as the Burgomaster. I forget what he does or why he’s there or what a Burgomaster is. (Maybe it’s what you do before you become a Count, since this was shortly before he appeared as Count Dooku in Star Wars. ) This is indicative of the problem with this film: you have Christopher Lee, legendary melodramatic villain, veteran of Hammer horror, contemporary of Vincent Price, and you waste him in a throwaway role.
-Ian McDiarmid as the town doctor. “Hey, let’s get the man who played evil emperor Palpatine, the iconic arch-villain in the most famous film series of our time, and have him do absolutely nothing in a bit part!”
I hate it when talent gets wasted, and this movie is like a monument to wasting talent. There are so many good elements here that could have worked, but they didn’t because they weren’t used correctly. It’s supposed to be a ghost story, but the ghost isn’t scary when you know he’s just a goon who can be employed as mafia-style muscle. What we’re left with is a bunch of grisly murders committed for vague and emotionally-uninteresting reasons.
Oh, one more thing—because let’s face it, I’ve got to get on my hobby horse—this film is a forerunner of the now abominably-common practice of making all movies set in the past in hideously washed-out shades of blue-grey. Look at this:
Well, that’s all for now. Remember this image though for next week, when we conclude the series, hopefully on a better note.