![]() ![]() ![]() Verbinski and screenwriters Ted Elliott, Terry Rossio and Justin Haythe might have saved an entire reel’s worth of screentime by diving directly into the pic’s first setpiece, during which bandits manage to derail an inbound train carrying the dastardly Butch Cavendish ( William Fichtner) to the gallows. ![]() While this scene is certainly inconsistent with Reid’s goody-goody radio-show image, it assumes that audiences know or care enough about the character to wait nearly two-and-a-half hours to discover why the Old West’s ultimate white-hat hero would break the law. Tonto’s tale doesn’t alter the key elements of Lone Ranger mythology so much as it expands them, beginning with an unexpected memory of the masked lawman sticking up a bank. SEE ALSO: Disney, Jerry Bruckheimer See ‘Lone Ranger’ as New Genre-Bending Superhero The year is 1933, months after the radio series began its popular run (Tonto did not appear until the 11th episode), and the “noble savage” (Depp, virtually unrecognizable beneath heavy “Little Big Man”-style makeup) offers to set the record straight about John Reid’s legendary exploits some six decades earlier. This odd hat proves to be Tonto’s only distinguishing feature when a 12-year-old Lone Ranger fan discovers him tucked away, half-forgotten in a San Francisco sideshow tent.
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