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Based on Daniel Woodrell’s novel, Woe To Live On, and adapted for the screen by James Schamus, Ride With The Devil tells a story of the Civil War from a rather unusual perspective.
Ride With The Devil offers understated performances from a cast of talented actors, including the singer Jewel who stars in her first and only film as the war widow, Sue Lee Shelley. In Ride With The Devil, not only are the boundaries between North and South made hazy, but through the character of Holt, the lines between slave-and-free, and black-and-white are also blurred. Without some of the devices we rely upon to make meaning, viewers probably had difficulty making sense of Ride With The Devil.
The audience is not enlisted to help solve any problem, there is no end to the war, no intended destination, and it’s not clear for whom we should be rooting. Artfully transcending the dualisms associated with the American South, Ride With The Devil is an exception to the Civil War genre.
Contrary to how the Civil War is typically understood, not all those who fought did so in the name of the Union or Confederate army.
Other members of Jake’s crew include his childhood friend, Jack Bull Chiles (Skeet Ulrich), the sociopathic Pitt Mackeson (Jonathan Rhys Meyers), George Clyde (Simon Baker), and Daniel Holt (Jeffrey Wright), a former slave whose freedom was purchased by Clyde. Gone With The Wind (1939) has its mammy (Hattie McDaniel), Alex Haley’s Queen (1993) has its tragic mulatto (Halle Berry), and Glory (1989) has its restive buck (Denzel Washington).
As embodied by the brilliance of Jeffrey Wright, Holt communicates a superbly nuanced and dignified representation of blackness not found in other Civil War films.

While other films offer accounts of slaves who escaped to join the Union Army, Ride with The Devil gives us a freed slave who fights with the Missouri Irregulars. Holt’s motivations are largely explained by the historical moment and oppression that comes under the guise of freedom.
The audience is not enlisted to help solve any problem, there is no end to the war, no intended destination, and it’s not entirely clear for whom we should be rooting. Turkiyenin lider Film sitelerinden biri olmay? basaran EvrenselFilm, Film izlemeyi, film seyretmeyi sevenlerin biraraya geldigi bu full film izleme portal?nda isterseniz IMDB puan? yuksek film izleyin, ister dovus filmi izleyin, ister Turk filmi izleyin ve isterseniz de vizyon film izleyin. Consequently, when it comes to the American Civil War, filmmakers have offered up a plethora of binary oppositions from which audiences can find and make meaning: North over South, black over white, man over woman, free over slave, hero over villain, winner over loser. The son of German immigrants, Roedel belongs to a band of ruthless Missourian guerrilla fighters known as bushwhackers. Nor, as in the case of the bushwhackers, did bloodshed always occur in service to an overarching ideal. As film historian Donald Bogle points out, America’s crowning achievement in film, The Birth of a Nation (1915) gives us all of the above stereotypes with a couple more thrown in for added emphasis.
In fact, despite his limited dialogue, Holt is arguably one of the film’s most complex characters, and his presence onscreen further complicates simplistic notions of the Civil War.
Both accounts may be true to history, but presumably, because it doesn’t fit within reductive thinking, a black man fighting for the South is a story that is largely ignored.
Once I accepted, however, that certain conventions had been abandoned, watching the film for a second time was a different experience.
The second commentary features cinematographer, Frederick Elmes, sound designer, Drew Kunin, and production designer, Mark Friedberg.

Turkce dublaj film izlemeyi veya altyaz?l? film izlemeyi sevenlerin mekan? EvrenselFilm'de hergun yeni ve en son c?kan filmleri izlemenin keyfini c?kar?n. Like the historical figures upon which both film and novel are based, these Missouri Irregulars sympathize with the South, but swear no allegiance to either side. For Roedel and the rest of his gang, their relation to the war, and the terror they inflict, seems to have more to do with friendships and happenstance than devotion to some noble cause. Make no mistake, though, Holt’s allegiance with Southern sympathizers, does not render him a sellout.
I was able to simply settle in with the characters, appreciate their clever dialogue, their place in history, and relish the pictorial quality of the film’s landscapes and changing seasons.
The DVD also includes an interview with actor Jeffrey Wright who discusses his portrayal of Daniel Holt.
Ride With The Devil is one of those films that becomes more enjoyable with each subsequent viewing. Finally, there is a booklet featuring essays by critic and filmmaker Godfrey Chesire, and historian Edward Leslie.

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