Jeremiah Johnson (1972)
Directed by Sydney Pollack
While slowly adapting to the grueling life of a mountain man in the Rocky Mountains, Jeremiah Johnson encounters the Crow and Flathead tribes as well as hunters, trappers and settlers, all of whom call these mountains home.
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What critics compared Jeremiah Johnson to
There is also a final act of vengeance that takes place on a snowy mountaintop — and it seems a bit reductive, as if “Jeremiah Johnson” had merged with “Walking Tall.” “Wind River” isn’t, in the end, as enthralling a movie as “Hell or High Water” or “Sicario” (and it probably won’t come close to matching either one of them commercially), yet it’s skillful and compelling enough to prove that Taylor Sheridan , as a director, has the goods.
Cory is almost, but not quite, a fully dimensional character; he comes off as the spiritual descendant of the mountain man in “Jeremiah Johnson” who told Robert Redford to keep his nose in the wind, and his eyes along the skyline.
Watching this irresistibly pretty movie star pantomime panic, I was reminded of Robert Redford as the titular hero of the 1972 film Jeremiah Johnson , another prestigious nineteenth-century survivalist drama of literary pedigree, and one that also had a difficult, although ultimately neatly controlled production.
Based on a true story, it’s a masterpiece of suffering; it’s Robert Redford’s “Jeremiah Johnson” on steroids—a massive, muck-crawling, muddy-bearded, raw-meat-strewn, morose mess of hypothermic hatchet-versus-knife-fighting, flintlock-swinging, ursine destruction, and wheezing-grunting-snarling madness—wherein Leonardo DiCaprio’s Hugh Glass displays for our “entertainment” the Hobbesian creed to perfection.
It's Jeremiah Johnson meets Apocalypse Now.
Iñárritu famously went for realism here, putting his cast and crew through all kinds of misery, but the end result is simply spectacular, something like the gorgeous naturalism of Malick's "The New World" crossed with "Jeremiah Johnson."
The title character of “Jeremiah Johnson” (1972) took similar measures, fleeing into solitude after the Mexican War, but you felt his wary charm and never forgot, for a second, that under the buffer of beard was Robert Redford.
Redford has always seemed to prefer the say-much-with-few-words roles, and he made his own man vs. wilderness statement with “Jeremiah Johnson” 40 years ago.
In the wilderness-survival flick “Jeremiah Johnson,” he had about 30 lines of dialogue.
The movie fits neatly into the very American theme of man versus nature, one that Redford explored in his 1972 mountain man movie "Jeremiah Johnson," directed by Sidney Pollack.
All is Lost also brings to mind Jeremiah Johnson, the 1972 western where Redford plays a war veteran who makes a decision to become a hermit and live off the land in virtual isolation.
In the late 1960s and early ’70s, a young Robert Redford proved he could hold his own, on his own, against nature and the screen with “ Downhill Racer ” and “ Jeremiah Johnson .”
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…the film is reminiscent of "Jeremiah Johnson" here…
(As if the filmmakers won't have enough problems making this material feel fresh, there's an Arizona set scene straight out of "Jeremiah Johnson.")
Echoes of Into the Wild, Jeremiah Johnson, and the occasional Bear Grylls episode.
Penn’s style of directing seems to revert back to the ’70s, and just like Robert Redford’s “Jeremiah Johnson” there are some beautiful landscapes captured.
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Sydney Pollack has worked with Redford before - notably in another big-sky epic, "Jeremiah Johnson."
He never made big, splashy movies that garnered all the attention, but he made popular, well-crafted, often old-fashioned films like "Castle Keep," "Jeremiah Johnson," "The Way We Were," "Bobby Deerfield," "The Electric Horseman," "Absence of Malice," "Tootsie," "Out of Africa," "The Firm," "The Interpreter," and the film under discussion here, "Three Days of the Condor" (1975).
The film's director, Sydney Pollack , has worked with Redford three times before (they made the epic "Jeremiah Johnson" and the considerably less-than-epic " The Way We Were ").
Director Sydney Pollack and star Robert Redford have collaborated for a total of seven films ("This Property is Condemned"/"Out of Africa"/"The Way We Were"/"Jeremiah Johnson"/ "The Electric Horseman"/"They Shoot Horses, Don't They?"/"Havana") and have an excellent working relationship, which results in Redford giving an outstanding performance.