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But it's still a floor.
Oi TG, dont do that 'Yorkshire stirring thing' or he'll be back with another dictionary!!
leave it, its not worth it, step away, nothing more to see here.
by the way, where are the shovels?
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dont get me started about that other thing!!
hes a rat. whole family was rats. Woulda growed up to be a rat.
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Posted: |
Jul 31, 2014 - 5:41 PM
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By: |
Bob DiMucci
(Member)
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The 1960s had the last good measure of sturdy, work-a-day westerns--made by actors and directors with numerous credits in the genre.
I'd include among these:
1968 The Scalphunters - with Burt Lancaster, directed by Sydney Pollack
1968 Hang 'Em High - directed by Ted Post
1968 Firecreek - with James Stewart and Henry Fonda, directed by Vincent McEveety
1967 Welcome to Hard Times - with Henry Fonda, directed by Burt Kennedy
1967 The War Wagon - directed by Burt Kennedy
1967 The Last Challenge - with Glenn Ford, directed by Richard Thorpe
1967 Chuka - with Rod Taylor, directed by Gordon Douglas
1966 The Texican - with Audie Murphy, directed by Lesley Selander
1965 The Glory Guys - directed by Arnold Laven
1964 A Distant Trumpet - directed by Raoul Walsh
1963 Cattle King - with Robert Taylor, directed by Tay Garnett
1961 A Thunder of Drums - with Richard Boone, directed by Joseph M. Newman
1960 The Plunderers - with Jeff Chandler, directed by Joseph Pevney
1960 One Foot In Hell - with Alan Ladd, directed by James B. Clark
1960 Cimarron - with Glenn Ford, directed by Anthony Mann
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pa!!! that dang woodpecker is back agin!!!
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Posted: |
Aug 9, 2014 - 7:27 PM
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By: |
Richard-W
(Member)
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Cochise:
"Will Penny" is a film that deserves to be better known. While most of it is fairly standard -- though always interesting and engaging -- melodrama, the first twenty minutes or so may be the most accurate depiction of what it was like to be a real cowboy ever put on film: cold, hungry, uncomfortable, lonely and with few prospects for the future.
True, but what makes the film special is his decision to let go off the woman who loves him. He could have the family he always needed, but he has to let go of them for reasons. He has to give them up. Heston is so damn good in these scenes. Never saw a spaghetti western be as real and as down-to-earth as WILL PENNY.
Cochise:
The Hollywood Western, more than anything, created the myth of the gunslinger and frontier "justice," but ironically (when one considers who starred in it it) it goes a long way toward demolishing that myth (though no film does that more than Henry King's excellent "The Gunfighter").
How does Henry King's THE GUNFIGHTER (1950) demolish the myth of the gunslinger and "frontier justice"? It seems to me that the goal of the film is too tell that story better than any other film, and it does. It does. It's the best gun fighter film I've ever seen. But, I should point, there really were gunfighters in the American west. For example, William H. "Billy the Kid" Bonney hired his gun out in the Lincoln County War. That's a fact. John Wesley Hardin was a gunfighter for hire, a man who took money to assassinate lawmen. I could go into a historical accounting that would prove the reality behind the myth, at least in part, but history would just bore everybody. There were gunfighters in the American west, that's the important thing.
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yeah cochise, we would be so interested to hear your view on this?
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Well, of course, the four Leone westerns (Fistful, For a, GBU, Once Upon), Peckinpah's Ride the High Country and The Wild Bunch, the transplanted Seven Samurai remake The Magnificent Seven, Ford's The Man Who Shot Liberty Valance, John Wayne in two 1969 westerns The Undefeated and True Grit, the winking Butch Cassidy and the Sundance Kid -also from '69, Richard Brooks' The Professionals, How the West Was Won, Will Penny, and two offbeat choices: The 7 Faces of Dr. Lao and the modern Lonely are the Brave.
I certainly need to add One-Eyed Jacks to this list. I saw it for the first time a few nights ago and it's really sticking with me.
And I suppose I should also add The Misfits, also from 1961, although it's modern day so not really an "Old West" western. But I cited Lonely are the Brave above, so I suppose it's OK. 
Another 1960s Marlon Brando western which I saw last year, The Appaloosa, is also quite good.
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Just wondered about something while reading the debate on whether a spaghetti western is a western or not. Is the Italians making a western in Spain any worse than Hollywood making historically set films based on other countries, without venturing outside the US?
And I feel that some Italian westerns have a better regard for the history than many American films, including the American west of the past. Look at costume for starters in the Leone films.
And even when they film on location in the countries of the setting they make the most amazing gaffs. The worst offender (despite the fact it's legend as opposed to actual history) for some years must be Kevin Costner walking to Sherwood Forest/Nottingham after landing at the White Cliffs of Dover via HADRIAN'S WALL!!
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Who dug this thread up? Id forgotten how much i really loved sparring with Dick.
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Ooh matron. I was in a rush and didnt have time to post something less Carry on.
Just remember if i disagree with you about what films i like, i'll kill ya. And i dont like nobody touching my stuff. Any of you homos ...touch my stuff, i'll kill you. And any of you... call me psycho, i'll kill ya....."
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They're not just westerns, they're about something; they're about the country in which the West took place. The stories derive from a way of life that is uniquely American. The Italians couldn't tell those stories ......
Maybe in practice, but in theory there's no reason why a non-American (let's face it, that includes most of the emigré writers and directors of Hollywood's zenith) can't tell an American historical and cultural tale if he wants to. And being 'about something' needn't be a straight autistic history thing; as easily a moral, political, psychological, allegorical thing, as we discussed in the 'Big Country' thread. Many American homegrown westerns are like that.
Y'need to remember that the Spaghetti thing is always a little tongue-in-cheek ... in small vignette settings. More like Tarantino. People don't take them 'seriously'.
Duvall's quote is a wee bit odd. Tennessee Williams might have better fitted that list.
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