‘Rider’ a heroic struggle on South Dakota plain
A throwback to the films of monastic minimalist Robert Bresson, “The Rider” marks the arrival of a major new talent — Chloe Zhao, the film’s writerdirector.
Set in the world of horsebreaking, contemporary cowboys and bronc riding, “The Rider” begins with its protagonist, Brady Blackburn (a startling Brady Jandreau), who suffered a serious recent head injury when a horse stepped on his skull, who lies dreaming of — what else? — a horse. Brady lives in a trailer on the South Dakota plain with his childlike adolescent sister, Lilly (Lilly Jandreau), who has Asperger’s syndrome, and their brusque cowboy father, Wayne (Tim Jandreau). Wayne likes to spend his earnings drinking and playing video poker and hasn’t paid rent on the trailer.
Brady uses a folding knife to remove the staples holding a bandage to his head in opening scenes and has a huge unhealed incision. He has a plate in his head, takes pain meds and his right hand often clenches uncontrollably. He is devastated to be told he must give up his passion or risk getting killed if he injures his head again. Brady hopes at least to be able to earn a living as a horse trainer, a noble profession at which he excels. Scenes of Brady working with horses, animals he loves and respects, are some of the film’s most amazing accomplishments.
Zhao, who is Chinese, met many of her cast members on the Pine Ridge Reservation shooting her awardwinning previous film, “Songs My Brothers Taught Me.” These include the small, wiry cowboy Brady Jandreau, who is a member of the Sioux tribe along with his father and sister, and who suffered
a reallife injury like the film’s protagonist. Jandreau plays someone much like himself and is as comfortable on horseback as he is on his feet. His screen Brady hunts on horseback and provides meat for the table when the family isn’t having frozen pizza. He handles horses with a gentle mastery, making “The Rider” a hybrid of feature film and documentary.
Zhao has great artistry of her own, making the skies, grasslands and mountains of South Dakota and the Badlands National Park an integral part of the film. On some level, “The Rider” is a song in praise of the natural splendor of the world. Thundering storm clouds are the physical manifestation of Brady’s inner turmoil.
When he isn’t training or riding horses, Brady visits his hero, Lane Scott, a fellow young rider, who was completely paralyzed in an accident and communicates with his friend using sign to spell out words. Crucial to the film’s power is the work of Brooklynbased composer Nathan Halpern and cinematographer Joshua James Richards. In this age of superheroes and their endless, often meaningless films, Zhao reveals the natural heroism of Brady Blackburn, and it is stunning.