THE LONE RANGER. Successor or Knock-off of “Pirates of the Caribbean”?

“Pirates of the Caribbean” in the Wild West? Not exactly, although the marketing of “The Lone Ranger” was built on associations with the famous franchise starring Johnny Depp – the same creative team, from director and producer to the lead actor. Along the way there were also the screenwriters and composer; only cinematographer Dariusz Wolski wasn’t on board, though the visuals in this latest production are just as impressive as in the pirate saga. The whole project bears the Disney stamp, synonymous with family entertainment, but… In the case of “The Lone Ranger”, which includes scenes of eating a human heart and the slaughter of Native Americans, the phrase “a movie for the whole family” takes on a new meaning.

We’re in 1869. Lawyer John Reid returns to his hometown of Colby, Texas, where his older brother Dan serves as sheriff, hoping to bring order to the rapidly growing settlement. A symbol of progress is the construction of the railroad, championed by its representative Latham Cole. Meanwhile, Reid’s train is also carrying the outlaw-cannibal Butch Cavendish and the Native American Tonto. It doesn’t take long before Cavendish escapes with his gang, while Tonto and John barely survive when the train derails. By that point, a good half-hour has passed and the titular Lone Ranger is still nowhere to be seen. Pursuit of Cavendish ends in an ambush – Dan and his men are killed, but John survives. Guided by Tonto, he dons the mask and, as the Lone Ranger, sets out to avenge his brother’s death, though Cavendish’s plans turn out to be far more elaborate than expected.

Verbinski’s new film is certainly cinema of excess, even if it doesn’t surpass the Pirates of the Caribbean sequels in terms of subplots and characters. Perhaps this stems from the director’s ambition to make this adventure western funny and frightening, touching and disarming, explosive and mystical all at once. As a result, the tone of “The Lone Ranger” shifts from scene to scene, juxtaposing storylines as different as a massacre of Native Americans and the absurd sight of a horse perched in a tree. I understand that cinema is meant to generate emotions, and that entertainment can offer more than mere amusement, but Verbinski once again sacrifices fun in favor of starkly contrasting themes.

The same happened with the third Pirates installment, and earlier with “The Mexican.”

Strangely, the contrast between the two leads is almost invisible. John Reid is initially an idealist who despises guns, occasionally bordering on idiotic. Tonto, while less pacifist (he first appears wanting to kill Cavendish), doesn’t come across as particularly grounded either. Both characters serve a comedic function, despite their tragic backstories and their revenge-driven quest. Armie Hammer, in the title role, bends over backward to make Reid both bumbling and heroic, but the script and perhaps his own instincts keep dragging him toward a comical portrayal. Depp’s Tonto, meanwhile, works well as a partner – another variation on Jack Sparrow, though less talkative and brazen, yet Depp still finds ways to squeeze life out of a role that might otherwise feel recycled.

“The Lone Ranger” is also too long, though never boring. The prologue leading up to Reid putting on the mask (a good 45 minutes or more) should have been trimmed significantly. The film’s structure is peculiar as well – the entire story is recounted by an elderly Tonto in 1933 to a young boy who idolizes the Lone Ranger. But Tonto muddles his memories, mixes up the order of events, and leaves some questions unanswered. This may frustrate viewers, though Verbinski’s skill as a storyteller ensures that the narrative thread is never lost. It all adds up to what feels like a failure – not a successor but an imitation of Pirates of the Caribbean, though produced with no less effort.

And yet, while I recognize it as a cinematic oddity, I must admit I had fun watching it.

Visually, it’s superb – though Hollywood has long accustomed us to the fact that as much effort can go into bad films as into good ones. The action scenes are thrilling without being marred by obvious CGI or exhausting repetition. The humor often offsets the violence and is generally delightful (Helena Bonham Carter as a brothel madam with an ivory prosthetic leg that conceals a gun is outstanding), though at times its contrast with deeply dramatic moments is jarring. Finally, the adventure itself – Verbinski has a unique flair for inventive staging, but what he achieves in the finale of “The Lone Ranger” deserves ovations.

Set to the overture from Rossini’s “William Tell” (the theme from the original radio and TV Lone Ranger), the climax is a collage of spectacle worthy of the best Looney Tunes cartoons. The proportions are perfectly balanced, and it’s almost painful that such brilliance caps a film so uneven and contradictory. Had the whole movie been like that, it would have been a masterpiece. For that finale alone, an extra star – I left the theater with the smile of a little kid plastered on my face.