MGM released BREAKHEART PASS in 1974, based on the novel by best selling author, Alistair Maclean. The book was one part old West adventure, and one part conspiracy thriller. Maclean himself adopted the script, to make sure that no one would ruin his vision of the old West. The producers figured that a big budget BREAKHEART PASS would be a perfect vehicle for their maturing action icon, Charles Bronson. Bronson had proven his meddle in Westerns like RED SUN, ONCE UPON A TIME IN THE WEST, and GUNS FOR SAINT SEBASTIAN, and given his track record, he seemed the logical choice to play the lead. BREAKHEART PASS is directed by Tom Gries, the man who helmed WILL PENNY, a much more traditional Western than the mature, violent Westerns that were popular in the early 1970s. BREAKHEART PASS is widely available on home video, and can be seen frequently on Cable TV, but finally is finally given an uncut, widescreen DVD release courtesy of MGM Home Video.

Besides Charles Bronson, BREAKHEART PASS boasts quite an impressive cast. Bronson stars as John Deacon, a physician wanted for robbery and murder. Western veteran Ben (ONE EYED JACKS) Johnson plays Texas Ranger Nathan Pearce. Jill (CHINO) Ireland is the female lead, Marsha Scoville. Richard (FIRST BLOOD) Crenna is Governor Fairchild, a government leader with a secret. Charles (SISTERS) Durning portrays the Governor’s aide, O’Brien. Ed (DEATH HUNT) Lauter plays Sergeant Bellow. David (GORP) Huddleston is Dr. Molyneax. Robert (THE LONGEST YARD) Tessier has a role as the bloodthirsty bad guy, Levi Calhoun. Eddie (SEVEN FACES OF DR. LAO) Little Sky is his Indian ally, White Hand.

In 1870 Utah, Governor Fairchild (Crenna) and his consort, Marsha (Ireland), require a military battalion to take them to Fort Humboldt. An epidemic has apparently broke out there, and it is imperative that the Governor himself deliver the medical supplies and equipment. Sergeant Bellow (Lauter) and his platoon are assigned to escort the Governor’s entourage deep into the woods of Utah via the railway system. As the train gets ready to depart with all the soldiers aboard, Sergeant Bellow meets an aging Texas Ranger named Pearce (Johnson). The ranger requests permission to partake in the journey, because he is transporting a fugitive who is a threat to national security. Sergeant Bellow allows Pearce to join the Governor’s entourage. Before the train leaves, Pearce visits the local gambling establishment and discovers wanted criminal and killer, John Deacon (Bronson), who has a weakness for gambling. Along with the other fugitive, Pearce captures Deacon and takes him aboard the train bound for Fort Humboldt.

The train begins its 200-mile trek into the cold, snowy wilderness. On this first evening, the doctor (David Huddleston) assigned to investigating the outbreak is murdered. Sergeant Bellows, the Governor, and even John Deacon are shocked to discover a killer is aboard, despite the protection of trained soldiers. Suspicions are cast and mutual trust is shattered among the train crew and passengers. Marsha encounters Deacon, and when he doesn’t act like the killer he is, she assumes he can’t be the murderer. Since the entourage need Deacon’s medical knowledge, they allow him free reign while onboard the locomotive. The next day, a train engineer falls off the train to his doom. The train stops, and Pearce insists that John Deacon (who has knowledge of medicine) inspect the body. He confirms that the engineer did not fall; he was murdered, and then pushed from the train. Despite the increasing body count, the Governor insists that the train cannot turn back, and that they must proceed to Fort Humbolt to help those soldiers stricken with the disease. Pearce suspects that known killer Deacon is somehow behind the murders. Deacon, meanwhile begins his own investigation, and he discovers that the materials the train are carrying are not entirely legal.

As if the air of mistrust and suspicion weren’t bad enough, things get tragically worse. That evening during dinner, the rear sections of the train carrying the military personnel are severed, and the cars roll backward down the track on their momentum. Whoever unbolted their train cars also locked the doors, and the soldiers can’t get out. The rolling train cars pick up speed and fall of the rails, sealing the fate of those poor souls within. Sergeant Bellows is the only military person alive, because he was in the Governor’s car when it happened. Now, the passengers have significantly dwindled, while suspicion and distrust have increased to the point where everyone is significantly paranoid, and accusing everyone else of being the killer. Deacon continues his investigation and informs Marsha to stay in her room and keep the door locked no matter what. Meanwhile, an alliance between an outlaw gang led by Levi Calhoun (Tessier) and White Hand (leader of a group of renegade Indians) set a trap for the train bound for Fort Humboldt. This unholy union will spring their trap in the stretch of frozen wilderness known as Breakheart Pass…

BREAKHEART PASS is at the same time a violent Western, and a dramatic action thriller. The elements of intrigue run throughout the film, providing plenty of unexpected twists and turns (that we will not reveal for spoiler purposes). Tom Gries direction is assured, and he capably handles Alistair Maclean’s ensemble adaptation. Gries creates an aura of suspense during the first half of BREAKHEART PASS, when the cast is trapped inside the enclosed train in the desolate snow-covered forest. Then in the last act, when the action heats up, Gries demonstrates his grasp of large-scale action scenes. Gries’ camera lens depicts a violent battle between the outlaw gang/Indian alliance and Bronson and the U.S. Cavalry. Gries also piles on the violence and blood, with as much crimson as THE WILD BUNCH. Though the violence is as brutal and visceral as that film, Gries does not ape Peckinpah’s style. (such as Peckinpah’s use of slow motion). BREAKHART PASS also delivers the intrigue and action wrapped in an impressive visual canvas. The cinematography makes you feel as isolated as the characters on this train--in the middle of a snowbound nowhere.

When a novelist adapts his own screenplay, and is a presence on the set during filming, you can count on the resulting motion picture to stay faithful to the book. But even the most prudent writer cannot convert a three-hundred page manuscript to a ninety minute feature (especially an ensemble piece like BREAKHEART PASS), without making some concessions. Sometimes the author redefines characters, leaves out important concepts, and sometimes, entire conflicts must be thrown out. Maclean’s fans complained about BREAKHEART PASS not staying faithful to the source novel. But you cannot question Maclean’s adaptation--an artist has a right to take liberties with his or her own works. If the movie is not well received in the eyes of the audience, then blame must be thrust upon the shoulders of Alistair Maclean. If the script is good enough for him, then it should be good enough for the audience.

The cast is excellent, with notable turns from Richard Crenna, Charles Durning, Ed Lauter, and especially Ben Johnson. Johnson’s character wages a psychological war with John Deacon, and Johnson perfectly plays this angle up. Their rivalry is never fully explored though, the way it could have been. Jill Ireland not only looks exotic, but she comes off as classy and intelligent. It’s a shame she doesn’t have more to do than become the token damsel-in-distress. Her relationship with John Deacon implies a possible romance, but we never see anything of the kind. Her real life husband at the time, Charles Bronson makes an imposing presence as John Deacon. Fans of Maclean’ novel may disagree, but that’s because when you read a book first, you draw a mental picture of the lead character (with all his strengths and faults); when you finally see an actor onscreen as that detailed character from the book, you are bound to be disappointed. But Bronson fans surely won’t be disappointed with their icon’s steely composure and surprisingly cerebral approach to the John Deacon character.

As usual for MGM DVDs, the only extra is the scratchy (but cool) theatrical trailer. The trailer is 1.85.1, mono, and runs 2:59.

- Phil Chandler

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