‘Jeremiah Johnson’ With Bill Simmons, Chris Ryan, and Bill’s Dad

Key Takeaways

Robert Redford's 1972 film 'Jeremiah Johnson' is explored as a seminal mountain man movie, noted for its depiction of westward expansion.
The episode analyzes the film's unique narrative structure, including its delayed inciting incident for revenge and its 'two movies' feel.
'Jeremiah Johnson' gained significant commercial success, becoming the fifth-highest-grossing film of 1972 with $44.7 million on a $3.1 million budget.
The podcast delves into the film's production challenges, including director Sydney Pollack mortgaging his home and extreme Utah filming conditions.
Discussions highlight the film's lasting cultural impact, particularly through a popular Robert Redford nodding GIF, and its ambiguous, legendary ending.

Chris Ryan noted Robert Redford considered 'Jeremiah Johnson' his favorite film, possibly due to his affection for the Utah landscape where it was shot.
Bill Simmons connected Redford's love for nature, evident in the film's outdoor scenery and voiceover, to his founding of the Sundance Institute.
Bill Simmons' father, whose favorite film 'Jeremiah Johnson' is, recounted seeing it alone at age three and rewatching it on local TV channels for years.
The film's visual beauty and relaxing quality were appreciated during a rewatch for the podcast, comparing it to naturalistic scenes in 'Cast Away'.

The film's plot structure is noted for its inciting event for revenge occurring in the last half-hour, a contrast to typical revenge films like 'John Wick'.
This unconventional pacing contributes to the film feeling like two different movies, especially for first-time viewers.
The source material, 'The Crow Killer: The Saga of Liver-Eating Johnson,' and John Milius's original, more fleshed-out script were discussed.
Robert Redford, John Milius, and Sydney Pollack engaged in an iterative rewriting process, which reportedly benefited Milius significantly.

The early formation of Jeremiah's 'new family' with a woman and boy is discussed, noting the rapid believability of their bond.
A montage depicting Jeremiah learning to hunt, building a log cabin, and the spring thaw is identified as a highly rewatchable sequence.
The wolf attack scene is highlighted for its effectiveness, particularly given its early 1970s production era.
Jeremiah's reluctant character is explored, noting his physical discomfort with a mustache and a memorable line about an extra hat.

The film's ending is singled out as a favorite rewatchable part, with speculation on Jeremiah's timeline and potential reconciliation with Chief Paints in His Shirt Red.
The final confrontation scene, where Jeremiah prepares to fight the chief, leads to a mutual display of respect and a satisfying conclusion.
The legend of Jeremiah Johnson is further explored, with mentions of a song, a growing monument, and crows telling tales of his revenge, transforming his story into a folk tale.
The shift in filmmaking style towards the end, utilizing dissolves and music, suggests a metaphorical or legendary interpretation of events.

Bill's father identified the overture and intermission as the most dated elements, reflecting a past era of moviegoing.
The overture's length and effectiveness in setting the mood were acknowledged, despite being unusual by contemporary standards.
The discussion compares 'Jeremiah Johnson' acquiring a family to 'Outlaw Josie Wales', noting shared themes of a lone figure accumulating companions.
The film's opening song, which explicates the plot, was identified as a narrative device rarely used today.

Robert Redford reportedly enjoyed performing stunts where the camera captured genuine reactions.
Specific fight sequences suggested Redford was taking real impacts during action scenes.
A theory was discussed suggesting a cyclical narrative structure, with Jeremiah traversing the same locations up and down the mountain.
Redford's facial hair was praised as a standout element that aged well, evolving with his character and emotional state throughout the film.

The 'Big Kahuna Burger Award for Best Use of Food/Drink' went to the hot pockets made by the character Swan, noted for poor taste.
The 'Great Shot, Gordo Award for Most Cinematic Shot' recognized Delgue's head sticking out of the sand as a turning point.
The 'Kid Cutty Pursuit of Happiness Award for Best Needle Drop' was given to the film's ending music.
Character names 'Jeremiah Johnson' and 'Paints His Shirt Red' were strong contenders for the 'Chess Rockwell, Brock Landers Award for Best Character Name'.

A detailed breakdown was presented, meticulously counting Jeremiah Johnson's kills during fight sequences and montages.
Specific killing methods included shotgun, rifle, and knife, with a humorous comparison made to John Wick's kill count.
A 'hottest take' proposed a desire for more Redford survival movies, noting his athleticism and comfort in nature.
Jeremiah's decision to traverse the Crow burial ground was identified as a 'weak link,' deemed unrealistic for his experienced character.

The group engaged in a recasting exercise, suggesting Harrison Ford for 1982, Daniel Day-Lewis for 1992, Russell Crowe for 2002, and Brad Pitt for 2012.
Potential actors for a 2022 role included Matt Damon, Chris Pratt, Chris Hemsworth, and Austin Butler.
Michael B. Jordan and Denzel Washington were considered for a hypothetical 'black Jeremiah Johnson' reimagining.
Ryan Gosling was suggested, but one host noted it might be too reminiscent of 'Santa Barbara,' while Glenn Powell was deemed too 'happy' for the 'damaged' character.

Participants debated whether Martin Scorsese or Steven Spielberg would be a better director for 'Jeremiah Johnson,' favoring Spielberg.
Philip Seymour Hoffman was suggested for roles like 'Dog' or 'Bearclaw' in a hypothetical remake.
The ethics of eating Jeremiah Johnson's horse versus other potential food sources were debated following its death, questioning survival rules.
Nitpicks included perceived communication failures and plot inconsistencies, such as Jeremiah's decision to follow the cavalry.