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Cinematrographer Halyna Hutchins was killed on the set of Rust in 2021. This week, the first images of the film were published, but given the tragic circumstances of her death, is it morally reprehensible for the movie to ever be released?
ADVERTISEMENTThe first images have been released for upcoming movie Rust, displaying the work of late cinematographer Halyna Hutchins.
_Rust_’s filming met with controversy when Hutchins was killed on-set in New Mexico after a prop gun was fired by lead actor and producer Alec Baldwin on 21 October 2021. Director Joel Souza was also injured in the accident.
Baldwin had been given a real gun to be used as a prop that had real bullets loaded within it. When he drew the gun during a rehearsal before shooting, a bullet was fired killing Hutchins.
Following the accident, Baldwin was charged with involuntary manslaughter alongside the film’s armourer Hannah Gutierrez-Reed on 19 January 2023. She faces a second accusation of tampering with evidence and is expected to be tried in February.
18 months after the incident, filming restarted following the charges against Baldwin being dropped. Although there was word that the New Mexico prosecutors considered recharging the actor, it amounted to nothing and the film has been completed, with Bianca Cline stepping in for Hutchins.
It’s been a long run to get to this stage for Rust. By all accounts, most probably never expected for the film to see the light of day after Hutchins’ death. The $8 million (€9.3 million) film was a passion project for Baldwin and Souza, who together developed the story of an ageing outlaw (Baldwin) coming out of hiding in 1880s Kansas to save his 13-year-old grandson from a death sentence due to an accidental murder.
You couldn’t write a plot more on the nose than that.
Is it appropriate that Baldwin and Souza are ploughing ahead with releasing the film? It would be tempting for the production companies behind the feature to want to bury the entire project and hope the world quickly forgot all about the horrid incident that will beleaguer the film’s legacy forever.
After all, it’s hardly likely to be a classic. Little about the Baldwin ego-vehicle screams essential watch. Prior to the accident, at worst, the film would have likely been a little watched entry in some lesser-known film festivals before disappearing without a proper distributor. Best case scenario, it could’ve proved popular for a short while having been pushed for a week or so on a streaming platform – but we all know the chances of striking lucky online.
Given the tragic situation of a cinematographer losing her life and the terrible press storm around Baldwin, a tax write-off of the film à la Batgirl would have seen everyone paid their dues and served as a quiet denouement of the affair.
Instead, Baldwin and Souza’s choice to release the film could be read one of two ways. Perhaps this is the most fitting thing. Even if the film isn’t a classic of cinema, it still represents the last work of Hutchins, a cinematographer who dedicated her career to the art form. Her cinematic legacy is in some of the shots of Rust and letting people see her talent is a fair goal. No doubt, the film will likely end with a dedication to her.
On the other hand, that the film is a passion project for the producer-director duo makes the situation reek of opportunism. After all, how many people who’d never have heard of the film are now aware of it and would anticipate its release? This could be a prime chance to turn a would-be quickly-forgotten movie into a money maker.
Baldwin has faced his fair share of ugly comments in the press and while he was certainly involved in the incident, he’s been cleared of guilt and has likely had to endure his own torment over it. He’s free to do whatever he wants regarding the film. Whether you think it’s true to Hutchins’ memory to release it, the film is going to come out.
For what it’s worth, my recommendation would be to release the film. It’s a horrible moment in the history of cinema, but Hutchins’ probably would have believed in the importance of releasing art you’ve made instead of hiding it away. Even as just a memento to her life, more art is generally better.
The only addendum I’d suggest is that any profits are passed on to worthy causes. After her death, a GoFundMe was set up for Hutchins’ family and the American Film Institute (AFI) announced it would set up a scholarship for women cinematographers in her name. If this movie makes any money, that’s where it should go.
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