Lawmen: Bass Reeves, a series produced by David Oyelowo and Taylor Sheridan for Paramount+, brings to life the tale of Bass Reeves, a man who defied the odds and made his mark in the era of the American Civil War.
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This drama is not just a typical Western, it is a thought-provoking exploration of freedom, justice, and the indomitable human spirit.
One of the challenges when creating a drama set during the American enslavement of Black people is to convey the horrors of this dark period in history to a modern audience desensitized by depictions of it.
Lawmen: Bass Reeves addresses this challenge in a powerful way. The series opens in Arkansas in 1862, amid the American Civil War, where Bass Reeves (by David Oyelowo) is playing a high-stakes card game with his enslaver, George Reeves (by Shea Whigham), for his freedom.
The tension in this scene is palpable as Bass, a man who has shown heroism in the Confederate army despite being conscripted, awaits the outcome of the game.
This scene not only highlights the intense personal stakes but also portrays the injustice and inhumanity of one person having dominion over another.
Bass’s fate takes a twist, He must flee the state, leaving behind his wife, Jennie (by Lauren E. Banks), who captivates viewers with her presence.
Seeking refuge in Native American territory, Bass finds sanctuary with Sara, a Seminole woman (Margot Bingham), and her son, Curtis (Riley Looc).
The Seminole nation, having never surrendered or made a worthless treaty, offers Bass a glimpse of freedom in a land still untouched by the clutches of slavery.
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The series raises questions about liberty and what it means for those who have been colonized. Bass finds a peaceful life among the Seminole people, learning their language and occasionally working as a translator.
However, the series challenges the concept of liberty, showing that even in a land where one is technically free, true freedom remains elusive.
Bass’s journey unfolds over the years, portraying the impact of poverty on a man’s sense of freedom, even in the post-Emancipation era.
When U.S. Marshal Sherrill Lynn (Dennis Quaid) offers him a job tracking down Native American outlaws, Bass is compelled to accept for the sake of his family.
This moment marks the beginning of his life’s work as a lawman. In 1875, Bass is appointed as a deputy chief marshal for western Arkansas by Judge Isaac Parker (by Donald Sutherland).
He serves for more than three decades, arresting over 3,000 individuals, including his own son, who is charged with murder.
David Oyelowo performance, layering Bass’s character with a mix of fury, despair, hope, and misery. Underneath it all, Bass remains an earnest man devoted to the cause of justice.
Lawmen: Bass Reeves stands out as a unique series. Bass’s escape from hounds by swimming across a river and encounters with weathered men squinting at the sun may seem like clichés, but the series transcends the potential for humorless pastiche.
Its perspective, meticulous storytelling, and grounding in real-life achievements elevate it above the ordinary.
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Lawmen: Bass Reeves doesn’t just tell the story of one man’s life but also delves into the intricacies of the time, offering insights into the experiences of colonized and enslaved people.
It sheds light on the challenges they faced, even after formal emancipation. The series also explores the personal possessions in asserting one’s identity and independence.
Jennie’s advice to her daughter about the piano, a symbol of ownership and self-expression, is a powerful female insight. This attention to detail adds depth to the narrative.
Dennis Quaid’s portrayal of Sherrill Lynn is a blend of lazy charm and latent threat, making him a compelling character.
The series doesn’t shy away from showing the complexities of the human experience, both in terms of the character’s interactions and the broader historical context.
Lawmen: Bass Reeves is based on Sidney Thompson’s trilogy of historical novels and written primarily by Chad Feehan, known for his work on series like “Ray Donovan” and “Banshee.”
Originally conceived as a spin-off of “1883,” itself a spin-off of “Yellowstone,” the series now serves as the opening chapter of an anthology series that explores figures attempting to impose order on a lawless country driven by the idea of manifest destiny.
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