Short Film Review “The Good Fight”

The Good Fight1 The Good Fight2 The Good Fight3


First, the Recap:

Doing what must be done. How many of us can truly say we’ve accomplished that task when the need arises? And, if that choice is indeed made, how far are we willing to take it to protect those we love and the other things of importance we cherish?  Streets clear, citizens make for shelter, and the winds blow through a small, Old West town–the warning signs of an upcoming encounter. A dubious looking man, MacCreedy (Daniel Britt), stands staring with contempt and arrogance at the saloon opposite him, in the window of which stands Will O’Bannon (Carter Bratton), a man with much on his conscious. Settling at a table, under the watchful eye of the bartender (Aaron Mass), Will begins to contemplate and recollect.

Memories of time with a beloved son, James (Michael Fruhwirth), then moments on a dark, quiet evening outside his home conversing with his equally beloved wife, Sarah (Amber Lynn Potter), whose desperate pleadings fall on listening ears, yet do nothing to quell the fire raging in Will, his mind made up in the insistence he needs to make things right for the family and town he esteems. Dismayed at his choice, Sarah retreats from the talk, even as Will enters his home and has a heart to heart with James, explaining the meaning of standing up against danger, facing evil, and not being willing to ignore wrongdoing.

In the present, MacCreedy’s taunts flow, the showdown arrives, and lessons are learned as the climax reveals that even when doing the honorable thing, there can be a price still paid.

Next, my Mind:

Westerns are a fantastic genre in film when done right, from the classics of John Wayne, to the grittiness of Clint Eastwood, to what this reviewer feels are modern gems like “Open Range” and “Tombstone”.  Writer/director/producer Michael C. Potter’s “The Good Fight” is the first indie short film Western I’ve experienced and it most certainly comes out with its six-guns blazing, but in potent dramatic form in lieu of all-out action.  And this is a very good thing! Filmed with that “classic” sense of the era the narrative takes place during, the camera deftly illustrates the very nature of the conflicts being presented, both physical and emotional.

Bratton is solid as Will, bringing a pensive stare, depth of thought and wisdom, and a realistically humble yet strong presence to the character as he navigates the war within his own mind in view of the decision made, the action that is required, and the cost it may bear. Britt’s MacCreedy is a likewise definitive villain, playing the cocky, vile presence a town has been held prisoner by and who believes no one capable or willing to stand up to him to a “T”.  And a particularly powerful moment in the finale involving Will’s son James is portrayed very well by Fruhwirth. The rest of the supporting cast does well and said finale is perhaps not what one would expect.

The themes presented here may not be anything new in themselves, but as always, it is more about HOW the concepts are delivered to the viewer, here done excellently. And when it comes to stories about doing right in the face of malevolence and putting others before yourself, those are messages we should never tire of.

As always, this is all for your consideration and comment.  Until next time, thank you for reading!





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