Western

Cowboys and Aliens

If I didn’t already know this was based on an existing graphic novel, I might have assumed that the title was a leftover “working” title, and no one could be bothered to come up with anything better when the film was completed. Despite the major-league production values and the marquee value of Indiana Jones and James Bond in the cast, this is a forgettable pot-boiler that does proper service to only one half of its title.

A nameless stranger (Daniel Craig) wakes up with no memory of who he is, a wound in his side, and a large and strangely unremovable metal bracelet on one wrist. He reaches the nearest town, where people recognize him as Jake Lonergan, notorious stagecoach robber. Awkward.

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Once upon a Time in the West

Once Upon a Time in the West

Sergio Leone’s follow-up to the “Man With No Name” film trilogy was probably not what anyone expected, but international audiences seemed better able to cope with the surprise than their American counterparts. Once Upon a Time in the West initially bombed in the States despite being a smash hit overseas. Only in retrospect have we conferred upon this film its proper status as a unique classic, as different from the director’s previous work as it was from the more traditional Hollywood conventions it inverted at the same time it was playing homage to them.

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The Sons of Katie Elder

The Sons of Katie Elder looks epic in the sweeping vistas of its Mexican locations and its large cast of characters, but it doesn’t feel epic in the scope of its story. Its two-hour length is more than enough to contain its narrative, with a solid twenty minutes to spare. It’s not a bad movie so much as a decent one that takes its sweet time getting to the point.

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True Grit

True Grit

Remakes of John Wayne movies are a rare thing. Stagecoach was remade twice, but never with memorable results. The Sons of Katie Elder was kinda/sorta remade as the Mark Wahlberg film Four Brothers, but the modern-day gang parable was barely recognizable next to the source material.

In True Grit, Jeff Bridges would be stepping into the iconic role that earned Wayne his Best Actor Oscar and the only character that I can recall that Wayne actually played twice. It was a ballsy move for an actor now permanently identified with “The Dude,” the memorable slacker from The Big Lebowski. Fortunately for Bridges, the Coen Brothers, also writer/directors for Lebowski, had the actor’s back.

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True Grit

True Grit (1969)

Don’t be deceived by the fact that John Wayne received an Oscar for his performance as Rooster Cogburn. That award was probably more of a lifetime achievement award than recognition for a single performance, much like Paul Newman’s Oscar for The Color of Money. John Wayne had given better performances and made better films. Probably not coincidentally, John Ford was usually involved.

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The Man Who Shot Liberty Valance

The Man Who Shot Liberty Valance

While John Ford would go on to direct several more pictures after this one, The Man Who Shot Liberty Valance represents a sort of exclamation point of one of most celebrated directorial careers in American film. His previous high-water mark, The Searchers, was a film torn between the conventions of a previous era and emerging modern sensibilities. Liberty Valance is thoroughly modern by 1962 standards and virtually timeless by any other.

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The Searchers

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John Ford’s The Searchers is a movie in desperate search for an identity. For every aspect that is excellent, two more make you want to cringe. The film seems to have feet in two eras. Its ambivalent attitude toward the stereotypical treatment of Native Americans seems slightly ahead of its time, although Hollywood would do much better later. Balancing against this are characters and storylines that would have seemed dated when Ford and John Wayne were first working together back in the thirties.

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The Assassination of Jesse James

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If one had no other reference with regards to the American West, they might gather from this movie that Jesse James’ notoriety came from his ability to talk people to death. Well, most of the jaw-jackin’ in this movie comes from the titular coward, but there is no shortage of talk and a relative dearth of the gunplay that one expects from a typical horse opera.

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3:10 to Yuma

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Unlike the South, the western does seem to rise again. And again and again and again. The genre has been pronounced dead more often than Generalissimo Francisco Franco on Saturday Night Live, but they keep making them. And despite the tendency of the Horse Opera to endlessly recycle plots, this is one of the few explicit remakes I can recall, save for the odd TV movie of the week.

3:10 to Yuma is a movie with its feet in two eras. Continue reading

Tombstone

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Tombstone was the first shot fired in a double-barreled blast of Wyatt Earp movies in 1993 and 1994. While Lawrence Kasdan and Kevin Costner’s Wyatt Earp was too long, plodding and ponderous, George Pan Cosmato’s entry in the O.K. Corral sweepstakes was violent and operatic, a noisy revenge tale told at a fever pitch. It was also the better movie, even if its fidelity to the facts of Earp’s life was less than letter perfect. Movie audiences have never been that picky about historical accuracy in their westerns. Young Guns did all right and it was hardly a scholarly work on the life of Billy the Kid.

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The Frisco Kid

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The Frisco Kid is a genial comedy desperately in search of a narrative thread. This story of a hapless Polish rabbi (Gene Wilder) finding his way across the American Old West with the help of a genial bank robber (Harrison Ford) has a good heart and some funny moments, but no sense of direction. It hits the high points of western clichés, like train robbers, Chinese railroad workers, a hanging posses, horse being spooked by a rattlesnake and a climatic showdown on a dusty street. The real problem is that the central relationship, between Wilder’s Rabbi Avram Belinski and Ford’s Tommy Lillard, has no story arc. They meet, they bicker, they reach San Francisco.

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The Wild Bunch

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It’s interesting to think that 1969 saw two landmark westerns that covered much the same territory in vastly different ways. They were both set against the twilight of the old west and both dealt with train robbers for whom time had fatally passed them by. While Butch Cassidy and the Sundance Kid was a breezy, nostalgic comedy, The Wild Bunch is a mostly somber contemplation of violence and mortality.

Sam Peckinpah‘s signature film may have been shockingly violent for its day, but its actually fairly tame in that department compared to modern action movies like Die Hard. However, if the graphicness of the violence is not up to modern standards, the sheer body count of this picture, as well as the callous randomness of the death, is still capable of shocking.

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