The Rewatchables

‘Jeremiah Johnson’ With Bill Simmons, Chris Ryan, and Bill’s Dad

October 7, 2025

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  • Robert Redford considered *Jeremiah Johnson* his favorite film, likely due to its connection to his love for nature and the Utah landscape where it was filmed. 
  • The film is noted for its unconventional structure, delaying the major revenge plot until the final half-hour, which contrasts sharply with typical revenge movies. 
  • The movie's enduring legacy includes its modern cultural relevance through the ubiquitous Robert Redford nodding meme, which has introduced the film to new generations. 
  • The film *Jeremiah Johnson* is considered a fascinating, yet difficult sell today due to its slow pacing and focus on solitude, contrasting sharply with modern Hollywood action narratives. 
  • The discussion highlighted several missing scenes, such as Jeremiah Johnson's time in town before heading to the mountains, and questioned the realism of his survival after numerous severe injuries. 
  • The participants agreed that the film's production, including filming in harsh Utah conditions and director Sydney Pollack mortgaging his home, reflects a level of commitment rarely seen in contemporary filmmaking. 

Segments

Redford’s Favorite Movie
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(00:01:00)
  • Key Takeaway: Bill Simmons’ father’s second appearance on The Rewatchables is for his favorite movie, Jeremiah Johnson, which he first saw alone in 1972.
  • Summary: Bill’s father first saw Jeremiah Johnson in 1972 after reading about the historical figure, John ‘Liver Eating’ Johnson. The film was not initially well-received commercially, but the father immediately decided he would see it many times. It frequently aired on local Philadelphia stations during the 1970s.
Appreciation for Scenery and Style
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(00:04:43)
  • Key Takeaway: The film’s appeal lies in its gorgeous outdoor scenery, old-fashioned epic structure combined with a 1970s sensibility, and Redford’s personal connection to nature.
  • Summary: The scenery is described as gorgeous and relaxing, comparable to the peaceful stretches in Castaway. The movie blends a 1950s/60s epic feel with a distinct 1970s sensibility. The setting in Utah is noted as Redford’s ‘adopted backyard,’ linking to his establishment of Sundance.
Vietnam Disillusionment Parallels
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(00:08:37)
  • Key Takeaway: The character of Jeremiah Johnson, escaping civilization while still wearing his uniform, subtly comments on the disillusionment felt by Vietnam veterans in the 1970s.
  • Summary: Jeremiah Johnson’s desire to escape civilization suggests parallels with post-Vietnam disillusionment, as he shows no interest in the outcome of the Mexican War. A popular internet theory suggests Johnson was a deserter, evidenced by his question, ‘Who won?’ at the end of the war’s mention. The film shares thematic ground with Dances with Wolves regarding a disillusioned soldier finding balance with an indigenous culture.
Mountain Man Genre Context
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(00:11:07)
  • Key Takeaway: The mountain man/man versus nature subgenre, featuring films like Jeremiah Johnson, McCabe and Mrs. Miller, and The Revenant, is a reliable cinematic trope.
  • Summary: The 1840s frontier era depicted in the film is an underrepresented period in cinema compared to traditional Westerns. These survivalist films often feature a protagonist who finds spiritual fulfillment outside of corrupting American culture. The genre typically involves a love interest whose sacrifice modernizes or corrupts the protagonist’s simple life.
Sydney Pollack’s Direction
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(00:13:44)
  • Key Takeaway: Sydney Pollack’s direction of Jeremiah Johnson solidified his reputation, leading to a prolific run of collaborations with Robert Redford that spanned genres.
  • Summary: This film marked a turning point for Pollack, who went on to direct seven films with Redford, including Three Days of the Condor and Out of Africa. Pollack is characterized as an expert director with a good eye, capable of eliciting great performances and handling both epic scenery and suspense. He is considered a type of expert director whose versatility is rare today.
Revenge Turn and Pacing
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(00:15:22)
  • Key Takeaway: The film’s structure is highly unconventional because the inciting event for the revenge plot occurs in the final half-hour, contrasting with typical revenge narratives.
  • Summary: For first-time viewers, the first hour and a half feels like a peaceful mountain journey, making the late-stage vengeance turn a significant shock. The slow build-up to the violence makes the eventual turn ‘super dark and weird and intense.’ Craig notes that the extended development of Jeremiah’s peaceful life made the murder of his family hit harder than in films like John Wick.
Cultural Impact and Meme Status
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(00:17:19)
  • Key Takeaway: The film’s image of Robert Redford nodding knowingly has become an omnipresent social media GIF, creating a separate cultural life for the movie.
  • Summary: The Redford nodding meme is used widely to signify agreement or approval on social media, often eclipsing knowledge of the film itself. The original character was based on John ‘Liver Eating’ Johnson, whose body Redford helped re-inter in 1974. The film’s writers included John Milius, who also penned Apocalypse Now and directed Red Dawn.
Most Rewatchable Scenes
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(00:24:01)
  • Key Takeaway: The most rewatchable scene is the reading of Hatchet Jack’s letter, which establishes the rifle that becomes Jeremiah’s signature weapon.
  • Summary: Hatchet Jack’s letter, wishing the rifle goes to a white man, is cited for its charming, albeit slightly racist, frontier language. The house-building montage where Jeremiah and his wife establish their home is also a highly rewatchable sequence. The final scene, where Jeremiah raises his arm instead of firing his rifle at Chief Paints His Shirt Red, is considered the ultimate rewatchable moment.
Most 1972 Element
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(00:34:45)
  • Key Takeaway: The film’s most 1972 element is its use of a long musical overture and an intermission, conventions common in 1970s epics but rare today.
  • Summary: The father notes that the overture and intermission (called the ’entrecte’) are relics of older epic filmmaking styles. The overture, lasting nearly two and a half minutes of music without credits, effectively sets the mood for the journey ahead. The hosts agree that while unusual, the overture works for this specific film.
Age Best: Facial Hair and Narrative
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(00:37:10)
  • Key Takeaway: Robert Redford’s evolving facial hair throughout Jeremiah Johnson functions as a distinct character element tracking the passage of time and Jeremiah’s emotional state.
  • Summary: The changing beards—from stubble to a high, full beard—are noted as one of the greatest facial hair performances in cinema history. The film’s structure is argued to be cyclical, with Jeremiah ascending the mountain and then descending through the same locations, suggesting a narrative loop. Redford’s high floor for quality films means Jeremiah Johnson stands apart from his other roles until All Is Lost.
Flex Category: When Would I Have Died?
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(00:53:16)
  • Key Takeaway: Bill Simmons estimates he would have died within 20 minutes of the film’s start due to freezing after the fire was put out, lacking survival skills.
  • Summary: The father suggests he would have died in the Mexican War before the movie even began, while Bill predicts freezing to death after falling in the creek without dry clothes. The group agrees that Jeremiah’s decision to walk through the Crow burial ground is the film’s weakest link, as he should have known better after years living in Crow territory.
Jeremiah Johnson’s Injuries and Weak Links
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(00:55:24)
  • Key Takeaway: Jeremiah Johnson’s survival despite severe, untreated wounds like an axe in the back and a spear in the stomach suggests his legendary status overrides medical reality.
  • Summary: The participants noted the extreme, life-threatening injuries Jeremiah Johnson sustained without medical attention, highlighting a major weakness in the film’s realism. One host’s ‘weakest link’ was the lack of scenes showing Jeremiah’s time in town before his mountain life began. This absence was reinforced by a later scene where Del Q suggests Jeremiah go to town, which Jeremiah claims he already did, though the audience never saw it.
Aging Poorly and Swan’s Casting
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(00:57:01)
  • Key Takeaway: The practice of trading or giving away a daughter as repayment for a gift ages poorly in modern context, and the actress playing Swan, Del Bolton, had a very limited film career.
  • Summary: The act of trading his daughter for scalps was identified as an element that ages poorly. The actress cast as Swan, Del Bolton, was not Native American and had only one other screen credit, an episode of Monk 30 years later. The Bearclaw/Jeremiah scenes were also cited as aging poorly.
Overtures and Plot Summaries
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(00:56:04)
  • Key Takeaway: The opening overture that lays out the entire plot of Jeremiah Johnson is considered an outdated filmmaking trend that removes the need for the audience to watch the narrative unfold.
  • Summary: One host’s weakest link was the film’s overture, which explained the plot in detail, comparing it to modern examples like John Wick. Bill’s Dad agreed that movies explaining everything upfront is a trend that thankfully stopped. This segment also included a brief discussion about the overacting awards, citing the mourning lady and Delgue.
Redford’s Untapped Survival Genre
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(01:00:25)
  • Key Takeaway: Robert Redford possessed an untapped micro-genre as an athletic, nature-focused solo adventurer, which could have been explored in more films beyond Jeremiah Johnson and All Is Lost.
  • Summary: The hottest take suggested that Redford should have made more survival movies, capitalizing on his athleticism and connection to nature, similar to his role in All Is Lost. The discussion noted Redford’s running ability seen in this film and Three Days of the Condor. It was also observed that Redford never played a true villain in his career.
Kill Count Analysis and Hottest Take
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(01:02:08)
  • Key Takeaway: Jeremiah Johnson is credited with 14 on-screen kills against the Crows, leading to the hottest take that the movie needed 13 to 15 more kills to satisfy the audience.
  • Summary: A detailed breakdown tallied 14 kills against the Crows, including six in the initial fight, two more during the pursuit, and a five-kill montage plus the final confrontation. The host argued that the film left ‘murders on the table’ compared to modern action standards like John Wick.
Casting What-Ifs by Decade
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(01:04:39)
  • Key Takeaway: The role of Jeremiah Johnson was originally intended for Lee Marvin, and later Clint Eastwood, but the modern casting choices for the role are complicated by actors’ current personas or perceived ‘happiness’.
  • Summary: The role was initially set for Lee Marvin, then Clint Eastwood (who left to make Dirty Harry). Casting suggestions across decades included Harrison Ford (1982), Daniel Day-Lewis (1992), Russell Crowe (2002), and Brad Pitt (2012). The group struggled to name a 2022 equivalent, suggesting actors like Pratt or Butler might be too ’tainted by Marvel’ or too young.
Production Facts and Filming Hardships
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(01:09:59)
  • Key Takeaway: Director Sydney Pollack mortgaged his home to ensure Jeremiah Johnson was filmed in Utah, and Robert Redford endured significant health issues, including frostbite and pneumonia, during production.
  • Summary: The film was shot in nearly 100 locations across Utah, with Pollack risking his home financially to keep the production there despite budget pressures. Redford reported suffering seven cases of frostbite, two cases of pneumonia, and four cases of strep throat. Furthermore, the tribes considered people who talked to themselves (like Delgue) as sacred, which offered Jeremiah protection.
Apex Mountain for Director and Supporting Cast
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(01:13:12)
  • Key Takeaway: Sydney Pollack, the director, earns the ‘Apex Mountain for Director’ award, while Will Geer (Bearclaw/Delgue) earns the ‘Apex Mountain for Crow Barrow Grounds’ for starting his role on The Waltons the same year.
  • Summary: The discussion settled on Jeremiah Johnson or Alive for the best mountain movie, though Pollack’s work in Tootsie was also mentioned. Will Geer, who played Bearclaw, began his long-running role as Grandpa on The Waltons in 1972, the same year Jeremiah Johnson was released.
Cruz vs. Hanks and Director Choice
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(01:16:09)
  • Key Takeaway: Tom Cruise playing Jeremiah Johnson would result in a comedy, whereas Tom Hanks is the more obvious, serious choice, though Spielberg was preferred over Scorsese to direct.
  • Summary: Hanks was the preferred choice over Cruise for a serious take, as Cruise would likely turn the film into a comedy. Spielberg was chosen over Scorsese to direct the film. The segment briefly diverted to discuss Donnie Wahlberg’s upcoming show Boston Blue.
Nitpicks and Unanswered Questions
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(01:19:03)
  • Key Takeaway: Major nitpicks included why Jeremiah did not eat his dead horse for sustenance and the questionable timing of the Crows placing Swan’s trinket in the burial ground before the massacre.
  • Summary: The hosts questioned why Jeremiah didn’t eat his horse, which represented five meals, given the dire circumstances. Bill’s Dad pointed out that the trinket found in the burial ground suggested the Crows had time to place it there after killing Swan and the boy, which seemed poorly timed relative to the rescue mission. The segment concluded with the unanswerable question of whether Bearclaw was gay or a virgin based on his dialogue.
Craig’s Final Verdict and Legacy
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(01:31:04)
  • Key Takeaway: Craig views Jeremiah Johnson as a gorgeous, ‘screensaver’ movie and a fascinating experiment in filmmaking that is the antithesis of what Hollywood produces today.
  • Summary: Craig praised the cinematography and landscapes, calling it one of the most gorgeous movies he had seen, though acknowledging it tests attention spans. He noted the film’s theme of wanting to ‘unplug’ in the 1840s resonates today. He also found the film underratedly funny, but agreed it would be the hardest sell to younger audiences.