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Man in the Wilderness

Man in the Wilderness

Western · Adventure · Drama · 1971

In the early 1800s, a group of fur trappers and Indian traders are returning with their goods to civilization and are making a desperate attempt to beat the oncoming winter. When guide Zachary Bass is injured in a bear attack, they decide he's a goner and leave him behind to die. When he recovers instead, he swears revenge on them and tracks them and their paranoiac expedition leader down.

Movie details

Man in the Wilderness

“He was left for dead. He would not forget.”

1971 Western · Adventure · Drama 1h 44m

Critical arithmetic

One number, for now.

TMDB

6.3 / 10

Community rating

In the early 1800s, a group of fur trappers and Indian traders are returning with their goods to civilization and are making a desperate attempt to beat the oncoming winter. When guide Zachary Bass is injured in a bear attack, they decide he's a goner and leave him behind to die. When he recovers instead, he swears revenge on them and tracks them and their paranoiac expedition leader down.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Man in the Wilderness?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Richard C. Sarafian

Written by

Jack DeWitt

Richard Harris

Richard Harris

Zachary Bass

John Huston

John Huston

Captain Filmore Henry

Henry Wilcoxon

Henry Wilcoxon

Indian Chief

Percy Herbert

Percy Herbert

Fogarty

Prunella Ransome

Prunella Ransome

Grace

Dennis Waterman

Dennis Waterman

Lowrie

Sheila Raynor

Sheila Raynor

Grace's Mother

Court is in session

Put Man in the Wilderness on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.