Don’t assume this movie shares similarities with films like “Tootsie” and “Mrs. Doubtfire”; it's not in the same category. Though inspired by a real event, director Greenwald avoids many typical Hollywood approaches to deliver one of the strongest westerns from the 1990s. Suzy Amis portrays Jo, a woman who demonstrates too much faith in some unscrupulous individuals. After relocating west and abandoning her illegitimate son, she narrowly escapes an assault by two soldiers. To evade them, she disguises herself in men's clothing and scars her face, ultimately using this altered appearance to obtain what’s necessary for survival. Percy, a man with disdain for women (played by Ian McKellen), takes her in, believing her to be a young man. She later develops a friendship with Frank (Bo Hopkins), who delivers one of his finest performances in years, and establishes a sheep ranch. A romance blossoms between her and Tin Man, a Chinese man (David Chung) she was compelled to hire as her cook, and eventually, she must confront a powerful cattle company attempting to gain control and force out the sheep ranchers. Amis’ appearance bears a resemblance to Eric Stoltz during scenes where she is portraying a male character, and she comes across as entirely convincing. McKellan and Rene Auberjonois have brief but important roles as older men whom Jo trusts, only to be betrayed. Bo Hopkins shines as the neighbor that Jo initially puts up with, then grows close to, before again tolerating. Chung embodies Tin Man as a sickly, opium-dependent, imperfect man—he’s perfectly cast, displaying all of life's hardships in his appearance. Heather Graham also appears in a small role as Amis’ lover Mary Addie, and does what she can with the part. The most unexpected aspects of this film are what it isn't. There aren't any sentimental "Yentl"-style moments where Jo falls for someone while pretending to be male. The conflict with the cattle company, a common western plot device, never overshadows the central story or resolves in a predictable manner. The concluding scenes, when Jo’s disguise is revealed, seem almost comical at first, but upon reflection, feel genuine and poignant, particularly Frank's reaction. Greenwald’s cinematography elevates this small film to an epic scale, showcasing stunning Montana landscapes. Her script is also intelligent, avoiding cheap humor or the kind of exploitation that another director might have pursued. I wholeheartedly suggest seeing "The Ballad of Little Jo."

Source on TMDB