The Paleface

Old western movies are always fun, be that you watch them for the action of gunfights, the epic battle between civilised palefaces and savage Indians, or the fantastic ladies’ fashions. The Paleface, albeit a Western in many respects is one film that camps up the genre so much so as to turn it into something else. 

Calamity Jane (Jane Russell) is offered a pardon from her ten-year jail sentence by the government if she will catch a renegade gang that is smuggling firearms and dynamite to a tribe of Indians. When the original plan of posing as a married couple with a specified agent goes south, Jane dupes sweet and simple-minded dentist, ‘Painless’ Peter Potter (Bob Hope) into a quickie marriage and uses him as her cover. However, on the road to the rendezvous point, Peter’s sweetness and naivety start to grow on Jane. 

Whilst it seems like a silly and camp movie on the surface, there is actually a lot going on in this film: definitely in terms of genre. It’s got the vibe of a Golden Age musical set against a Western backdrop and this is further established by Hope’s little ditty ‘Buttons and Bows’ that he sings very sweetly to a sleeping Jane (the song saw Jay Livingston and Ray Evans receive an Academy Award). Then, story-wise we have this cute and comedic undercover theme blended with a sort of reluctant-partner/buddy element. Calamity Jane as, what can best be described as a burlesque femme fatale, teases us with themes of the thriller, but of course the technicolour and the camp-ness eradicates any further development on that front. 

Undoubtedly, this is a real comedy pumped full of straight-laced sexual gags, politically incorrect jokes at the expense of the Native American cast though admittedly too silly to cause any real offence, as well as memorable moments of miscommunication and schadenfreude. 

The casting is admirable with Hope being almost annoyingly stupid and sweet with his puns and slapstick sequences, you cannot help but laugh at him, and Russell with her smouldering eyes and lips in a constant pout is the visual definition of sexiness. The two play off each other fiercely and funnily with Hope being bumbling and always talking and Russell being cool and almost stoic. 

Whilst it’s not the greatest film in the world there is something fresh and fun about this movie and the themes and generic tropes that it explores and teases us with makes it memorable, at least memorable enough to spawn a sequel: Son of Paleface. 

Starring: Bob Hope, Jane Russell, Robert Armstrong, Iris Adrian, Bobby Watson, Jackie Searl, Joseph Vitale, Charles Trowbridge, Clem Bevans, Jeff York, Stanley Andrews, Wade Crosby, Chief Yowlachie, Iron Eyes Cody, and John Maxwell 

Rating: G

The Hateful Eight [R]

On a cold and snowy hilltop, a famous bounty hunter sits atop the four corpses of his bounty, trying to hitch a ride. Along comes a coach carrying another famous hunter and his prize. On the way to Red Rock, the two pick up the town’s new sheriff. Against their luck, a blizzard comes along and they are forced to hold up in a cabin with a shifty Mexican, a surly General, the town hangman, and a solitary cattle rustler. Soon a strange vibe begins to cloud over the untrusting and trigger-happy group begging the question, will any of them outlive the storm? 

I’m going to attempt to write this in the most unbiased way I can, but being a Tarantino fan, a Tarantinian if you will, this may prove difficult. So be warned, you’re in for an unbridled rave of how enjoyable The Hateful Eight is! 

It’s a classic Tarantino movie! All his signature quirks are in place and work wonderfully well to tell a story that, despite the characters and the heavy dialogue, is delightfully simple. In fact, it’s a little reminiscent of Reservoir Dogs. The film is broken up into chapters and features a few flashbacks in order to cover every little aspect of the two separate stories that are actually happening and have managed to cross paths in the cabin. This cross-over is particularly interesting in fact and proves to be really tasty because, when you consider the circumstances, it brings this great level of humour to the film; that grander-narrative humour that Tarantino entertained us with in Reservoir Dogs and Pulp Fiction and is almost akin to the black comedy of Terry Gilliam or the Coen brothers. 

As with many of Tarantino’s movies, the film is character-driven and very heavy on the dialogue, which you would fear would become boring or un-captivating if not for the wonderful performances. Every actor delivers a memorable and top-notch performance, each being so good that it’s very hard to place favouritism. There is actually something akin to the stage play, almost Shakespearean in the way that this movie was filmed, with all the drama taking place within the confines of four walls. It put me in mind of Hitchcock’s Rope a little bit. 

Tarantino exhibits an incredible sense of style and significance in his direction and mise-en-scene, with practically everything that you see on screen, right down to the last jellybean on the floor giving you the impression that it has a purpose, that there is a reason it’s there and shot the way it is. The shot composition and mise-en-scene succeeds in making the film a very compelling mystery-thriller cleverly disguised as a western. 

I also want to give a shout out to Ennio Morricone and his remarkable score that accompanied this film. Like many of Tarantino’s films the soundtrack plays a very crucial role, not just in creating a certain atmosphere or ambiance, but providing some of the humour as well. What’s wonderful about the music here is that it’s got a style that doesn’t quite, by the slimmest hair, seem to fit with the genre of the film and in many scenes it’s played at points and at volumes that come across as being a little out of sync with everything that’s going on. This very subtle contrast I enjoyed very much because it inspired another feeling in me as I was watching it: that of watching a classic B movie, the one that immediately sprang to mind was Mad Max where the music is so over-the-top and used in scenes where it really shouldn’t be, it’s just funny. 

And everything else about this movie was right as well! The costumes were impeccable and period, the set design was just as much so, and the makeup and gore effects emblazoned themselves into imprints on your brain. Disclaimer, this film can get pretty graphic and gross in classic Tarantino fashion. 

Starring Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demian Bichir, Tim Roth, James Parks, Craig Stark, Bruce Dern, Michael Madsen, Dana Gourrier, Zoe Bell, Gene Jones, Keith Jefferson, and Channing Tatum, The Hateful Eight is the 8^th movie by Tarantino and stands up to all the rest. Whilst I don’t think it’s the best movie that he’s done, I tend to go back to his earlier films, I still really enjoyed this and found so much in it to love. 

Filled with gore, action, violence, drama, mystery, suspense, and comedy, it’s another classic Tarantino film!

True Grit [M]

When her father is murdered by a wanted criminal fourteen year-old Mattie Ross takes it upon herself to track down the murderer and bring him to justice. Unfortunately, she’s not the only one after Tom Chaney. A ruthless Marshall from another county is hunting the man too and in order to get to him first Mattie enlists the help of skilled, but gritty hunter Rooster Cogburn. With time against them, the hunt is on. 

A remake of the 1969 movie starring John Wayne, this Coen Brothers classic is a dazzling depiction of characterization, the power of the simple quest narrative, and just an all around gorgeous piece of Western cinema. The direction is simple but powerful and the performances are incredible, even though a fair amount of the time it’s hard to understand exactly what Jeff Bridges is saying with that gritty accent. 

Despite the fact that the movie poster heavily features Jeff Bridges and Matt Damon as the stars, the movie really is all about Mattie. The Coens prove that the quest narrative is an oldie but a goodie with the central story focusing on Mattie’s quest to find her father’s murderer. It’s a narrative structure that translates into any cinematic genre and here it’s blended with other recognizable plotlines such as the contrasting and mismatched companion story and the unlikely friendship. The Coens’ screenplay is a superb example of cinematic literature as it melds these recognizable narrative tropes together and puts them in a genre that we don’t often find them in. The result is this wonderfully gritty, but dramatic, comedic, and beautiful story that really surprises and inspires a plethora of emotional responses from the audience. One moment we’re laughing, the next we’re cussin’, and before we know it we’re at the edge of our seats praying that these guys make it and make it safe. 

The blend of recognizable narratives in an unfamiliar genre is the first thing to rave about in this movie. The second is the performances. Whilst Bridges and Damon are granted star billing, the movie is really all about Hailee Steinfeld who stars as Mattie. The girl is absolutely incredible! She is such a strong little actress and she really holds her own against Damon and Bridges. One of the greatest delights and kicks that I got from this movie was watching this sassy and educated young’un beat down middle-aged men at their own games; outsmart them, outsass them, and just generally wear them down in every which way but loose. Steinfeld is absolutely amazing! She’s sassy, she’s smart, her accent is practically flawless, and she provides the movie with the larger doses of its drama, emotional development, and comedy. I cannot oversell how great she was in this movie! 

Jeff Bridges as Rooster Cogburn is the ‘true grit’ of the title. He’s so dirty and rough; his voice actually sounds like a rock bring scraped against a hard place! It’s pretty fantastic. 

Matt Damon as LaBoeuf is really interesting to watch because he’s such a strange character. He’s kind of moral and upstanding and admirable, but at the same time a real dickhead and a bit of a creep, especially the first time you meet him: real creepy! 

Starring Josh Brolin, Barry Pepper, Dakin Matthews, Jarlath Conroy, Paul Ray, Domhnall Gleeson, Elizabeth Marvel, Roy Lee Jones, Ed Corbin, Leon Russom, Bruce Green, and Candyce Hinkle, True Grit is a great modern Western filled with action, violence, drama, and comedy. It’s a fantastic display of good characterization, great performances, and simple but clever screenwriting. It’s a classic.

Hang 'Em High [M]

Whilst on the road herding his new group of cattle home, Jed Cooper is surrounded by a band of vigilante justice-seekers who incorrectly accuse him of cattle rustling and murder and they hang from a tree and leave him for dead. But he doesn’t die. A local lawman cuts him loose and takes him to the nearest town where his guilt or innocence is to be decided by the judge. When his story checks out and he’s freed, he returns to his previous job as a lawman and becomes Marshall of the town, on the proviso that he can hunt down the men who hung him and bring them to justice. 

Whilst the theme to The Good, The Bad, and the Ugly might terrify me to no end, it hasn’t dampened the appeal of the Western or the undeniable boss-ness of Clint Eastwood. Hang ‘Em High is a classic revenge story in a very exciting and conducive setting and which takes a really ethical turn and ends on an interesting note. It’s not a wholly significant piece of cinematic history, but it’s a film with undeniable appeal and it delivers a quite enjoyable viewing experience. 

Whilst on the road herding his new group of cattle home, Jed Cooper is surrounded by a band of vigilante justice-seekers who incorrectly accuse him of cattle rustling and murder and they hang from a tree and leave him for dead. But he doesn’t die. A local lawman cuts him loose and takes him to the nearest town where his guilt or innocence is to be decided by the judge. When his story checks out and he’s freed, he returns to his previous job as a lawman and becomes Marshall of the town, on the proviso that he can hunt down the men who hung him and bring them to justice. 

Essentially, this movie is a revenge story, and a very strongly founded and classic one at that. The harsh dusty Western setting is the perfect genre for it: really conducive to the story and it’s a great backdrop for the coolness, machoness, drama, and indeed the more gory parts. There is something about blood mixed with sharp grains of sand that really creates the shivers! Maybe because it’s so sensory: you can just imagine, almost feel the stings and the discomfort of having sand grate against tender and cut flesh! 

What I really liked about the story was how it took a turn for the ethical and it wasn’t just about a falsely accused man out to round up his accusers. Over the course of the movie, questions about justice and what is truly just and right and fair and fitting get raised and explored and challenged and it serves the story very well by making it stand aside from other vendetta tales. 

Clint Eastwood is, well, he’s Clint Eastwood. I mean, it cannot be denied that the guy is pretty boss! He’s not just delivering a macho and cool customer Western performance, but also one that goes through real subtle changes and transformations. They’re so subtle in fact that you hardly see them. 

Starring Inger Stevens, Ed Begley, Pat Hingle, Ben Johnson, Charles McGraw, Ruth White, Bruce Dern, Alan Hale Jr., Arlene Golonka, Dennis Hopper, L. Q. Jones, Michael O’Sullivan, and Joseph Sirola, Hang ‘Em High is an engaging vendetta tale that holds its ground apart from other stories of its kind. Filled with violence, action, drama, romance, conflicts, and deep questions of ethics and justice, it’s a movie that I was pleasantly surprised with. 

Dodge City [PG]

The Civil War has ended and the steam train has replaced the stagecoach as the fastest postage delivery service. All efforts are now going into rebuilding the West, starting with the newly founded little community of Dodge City: symbolizing industry, trade, and honour, all the traits of the West. But soon the city falls into the hands of less than savoury characters, thieves, gamblers, and gunslingers and it becomes the desire of cattle rustler Wade Hatton to take up position of Sherriff and turn the town around. But the task proves more of a challenge when it becomes clear that an old enemy of Hatton’s owns Dodge City. 

What better way to spend a rainy Tuesday night than with an Errol Flynn western? Despite the fact that there is not really anything going on in terms of story or indeed performances, Dodge City still stands as an engaging and enjoyable movie, complete with an entire laundry list of classic Hollywood western clichés! 

The Civil War has ended and the steam train has replaced the stagecoach as the fastest postage delivery service. All efforts are now going into rebuilding the West, starting with the newly founded little community of Dodge City: symbolizing industry, trade, and honour, all the traits of the West. But soon the city falls into the hands of less than savoury characters, thieves, gamblers, and gunslingers and it becomes the desire of cattle rustler Wade Hatton to take up position of Sherriff and turn the town around. But the task proves more of a challenge when it becomes clear that an old enemy of Hatton’s owns Dodge City.

Errol Flynn in his Western debut! There was concern that the swashbuckling Tassie Devil wouldn’t be at home on the Western screen in spurs and camel shirts with fringe, but there was little need for it. Flynn proves that he’s just as at home on horseback with a gun as he is on the high seas with a sword! Although he’s just as gorgeous as ever and charming to boot, I do have to admit that there isn’t all that much to applaud in terms of his acting. Errol Flynn is really just Errol Flynn in whatever he does and this hard truth does hit home specifically in this film as he’s meant to be playing an Irishman. Sadly, no adorable Irish accent escapes from his toothpick moustached mouth and he just becomes another charmer on horseback. 

As I mentioned before, this movie comes complete with an entire collected works of Hollywood Western clichés, including a memorable saloon brawl scene, a climactic stand off on a train, and a kiss on horseback against the setting sun. Is there more than one could ask for? 

Starring Olivia de Havilland, Ann Sheridan, Bruce Cabot, Frank McHugh, Alan Hale, John Litel, Henry Travers, Henry O’Neill, Victor Jory, Guinn ‘Big Boy’ Williams, Gloria Holden, and Douglas Fowley, Dodge City is a mediocre but nevertheless entertaining movie filled with action, adventure, drama, romance, murder, and comedy. While there is nothing to critically acclaim, it still provides a fair few thrills and is perfect for those times when you just want to while away an hour or two. 

Winchester '73 [G]

The Winchester ’73 is a rifle that men of the west would sell their souls for. Upon arriving in Dodge City, revenge-driven cowboy Lin McAdam wins one such rifle in a shooting contest against the very man he’s devoted his life to hunting down. But all does not end well when the gun’s stolen from Lin and then, through many misadventures in the west, changes hands repeatedly from the crook, to a mixed-race Indian traitor, to an Indian chief, to a cowardly ranch owner, to a gun-crazy slinger, and finally back to the man who stole it from Lin. Will it find its way in its rightful owner’s hands? 

The first of eight collaborations made between James Stewart and Anthony Mann, Winchester ’73 is not a bad movie, but a mediocre one. For me, the Western is all about the rollicking chases, the fantastic music, the fast-paced action, and the suspense so thick you could slice through it with a knife. Alas, whilst there is some very fine acting, some unexpected twists of the plot, and the odd bit of rollicking action and shoot-outs, there is nothing seriously exciting about this movie and it fails to stimulate that rush of adrenaline that comes with a good Western. 

The Winchester ’73 is a rifle that men of the west would sell their souls for. Upon arriving in Dodge City, revenge-driven cowboy Lin McAdam wins one such rifle in a shooting contest against the very man he’s devoted his life to hunting down. But all does not end well when the gun’s stolen from Lin and then, through many misadventures in the west, changes hands repeatedly from the crook, to a mixed-race Indian traitor, to an Indian chief, to a cowardly ranch owner, to a gun-crazy slinger, and finally back to the man who stole it from Lin. Will it find its way in its rightful owner’s hands? 

There just needed to be a little more to this, a little salt so to speak. The story itself is actually quite good: it’s simple and travels about in circles, which successfully creates great feelings of frustration and outbursts of “look down, grab the gun!” and there are some great performances to admire such as Stewart’s leading-man. I can’t quite put my finger on what let this movie down, which is all the more frustrating really. It’s a movie that ticked all the boxes but lacked this wow-factor and that’s really the only criticism that I have about it. You want a movie that compels and excites you, but Winchester ’73 just doesn’t despite its very fine direction, performance, and narrative flow. 

It’s almost like the writers got to a certain point and then just lost their footing or creative vibe. A real disappointment is the anticlimactic final shoot-out, which is the one thing that we’re all looking forward to as the tension and the drama is quite successfully built up along the road. All the techniques and the make-up of this movie is spot-on, it’s just lacking that flavour that could make it really memorable. 

Starring James Stewart, Shelly Winters, Dan Duryea, Stephen McNally, Millard Mitchell, Charles Drake, John McIntire, Will Geer, Jay C. Flippen, Rock Hudson, John Alexander, Steve Brodie, James Millican, Abner Biberman, and Tony Curtis in one of his first screen performances, Winchester ’73 is a fun but flavourless Western filled with drama, tension, action, multiple stories, and comedy. It’s not bad per se it’s just not memorable, which is a real shame because it’s a movie that could have been really rollicking. 

They Died With Their Boots On [G]

From the first moment he rode into WestPoint Military Academy, George Armstrong Custer was pegged as a dandy and a no-hoper with his grades being incredibly poor, his disregard for rule and discipline being incredibly high, and his sense of cavalry and heroism measuring off the scale. Despite the low opinions of him in higher places, Custer builds a glorious name for himself in the military. But that changes when a peace treaty Custer has established with the Sioux Indian tribes is broken and his accusations of those responsible are rejected. To bring the guilty to justice, Custer must make the ultimate sacrifice… on the battlefield at Little Bighorn. 

It’s only just occurred to me, watching Errol Flynn movies in quick succession, that he really is the same in every movie. Robin Hood is Errol in tights. Captain Blood is swashbuckling Errol with a sword. And here it’s Errol with fringe and a gun. He looks damn dashing as a cavalryman it has to be said, but the truth has hit home that he was just another glorious action hero: brilliant at what he did but without any real depth of character. Having said all this, I still really loved They Died With Their Boots On! A romanticised slice of American history and a mighty nice patriotic one (albeit fictionalised) that depicts General Custer as a hero rather then the failure that his named is often attached to; this movie flies along at rocket speed and makes for a very exciting and fun afternoon movie. 

From the first moment he rode into WestPoint Military Academy, George Armstrong Custer was pegged as a dandy and a no-hoper with his grades being incredibly poor, his disregard for rule and discipline being incredibly high, and his sense of cavalry and heroism measuring off the scale. Despite the low opinions of him in higher places, Custer builds a glorious name for himself in the military. But that changes when a peace treaty Custer has established with the Sioux Indian tribes is broken and his accusations of those responsible are rejected. To bring the guilty to justice, Custer must make the ultimate sacrifice… on the battlefield at Little Bighorn. 

Right now I’m giving a shout out to costumer designer Milo Anderson who must have really had some fun coming up with some of these pieces. Particularly Errol’s and Olivia’s! Errol gets to wear these wonderfully exaggerated, but wholly dashing pieces; he’s very much like a Gilderoy Lockhart and it’s fabulous! Olivia’s grandiose pieces are really stunning too, right down to the lace patterns! 

I have to say that Errol Flynn and Olivia de Havilland are right up there in the company of other romantic leads such as Spencer Tracey and Katherine Hepburn or Barbra Streisand and Ryan O’Neal. These two work together so well and there is something really romantic about when they embrace and kiss one another. Love and tenderness seem to just come out in ripples from the screen like something out of Donnie Darko and it’s magic! As a tragic romantic girl, I could not help but sigh whenever these two were onscreen together. 

It has to be said that a large level of humour makes its way into the film in the form of people trying to act out dying, particularly in battle. Some of the more ‘dramatic’ battle sequences feature men suddenly clutching their sides or stomachs where they’ve been shot and doing some really exaggerated falls forward. It’s actually really hilarious. 

Starring Arthur Kennedy, Charley Grapewin, Gene Lockhart, Anthony Quinn, Stanley Ridges, John Litel, Walter Hampden, Sydney Greenstreet, and Hattie McDaniel, They Died With Their Boots On is a fantastically fun and rollicking movie filled with action, adventure, excitement, romance, drama, and comedy. I found it wonderfully exciting and am very happy to have it in my collection! 

Giant [PG]

Cattle baron Bick Benedict marries spirited Maryland belle, Leslie, and it seems that life is just great. But then Bick’s sister Luz dies and she leaves in her will a small portion of land to Jett Rink, an employee with a secret love for Leslie. Jett discovers oil and becomes exceedingly rich, but he still carries a torch for Leslie and unfortunately cannot enjoy the rewards he reaps. As Leslie and Bick get older, it becomes apparent that life is not going to be as they planned, as their daughter wants to run the ranch, their son becomes a doctor and takes a Latina wife, and their other daughter opts for the small life rather than the giant one of the Benedict family. 

This is another one of those classical Hollywood epics like Gone With the Wind. Chronicling an entire courtship and married life may give the film the look that it’s not really about anything, to be sure there are no rollicking action sequences or nail-biting dramas that take place, but with its memorable performances, inspiring Texan landscape, and fitting accompanying score by Dimitri Tiomkin, this family saga proves to still have some pull with an audience. 

Cattle baron Bick Benedict marries spirited Maryland belle, Leslie, and it seems that life is just great. But then Bick’s sister Luz dies and she leaves in her will a small portion of land to Jett Rink, an employee with a secret love for Leslie. Jett discovers oil and becomes exceedingly rich, but he still carries a torch for Leslie and unfortunately cannot enjoy the rewards he reaps. As Leslie and Bick get older, it becomes apparent that life is not going to be as they planned, as their daughter wants to run the ranch, their son becomes a doctor and takes a Latina wife, and their other daughter opts for the small life rather than the giant one of the Benedict family. 

Everything about this movie is big, hence the grandeur of its title. Based on the novel by Edna Ferber, Giant plays to that nostalgic vein of the classical Hollywood epic. Set in the west with the prime conflicts being that of clashes between races, classes, and genders, the film’s intriguing story about the battle between man and life proves to still be quite endearing. We also have classic performances from both Elizabeth Taylor and James Dean. 

As Leslie, Elizabeth delivers a performance that is classy, headstrong, and her appeal comes in the fact that she’s a modern girl stuck in a relatively outdated world where bigotry still seems to reign supreme. Her struggles with a loving, but stubborn husband prove to be quite engaging and her being so gorgeous to look at helps a great deal! 

James Dean is Jett Rink in tragically his last role (he was killed in a car crash after finishing the film). A hard fellow to read at first, aside from his affection for Leslie, James delivers a performance that becomes really tragic and touching towards the end when he sinks into alcoholism. His underdog sex appeal is a dominating force and even with grey hair and a porn-director toothpick mo, he still manages to convey that cheekiness and underdog character that won so many hearts. It’s tragic that he light didn’t shine for long, but it sure burnt brilliantly! 

Starring Rock Hudson, Carroll Baker, Jane Withers, Dennis Hopper, Chill Wills, Mercedes McCambridge, Sal Mimeo, Rod Taylor, Judith Evelyn, Earl Holliman, Robert Nichols, and Paul Fix, Giant is an epic Hollywood family saga filled with action, violence, racism, bigotry, drama, and romance. Its title matches its scale of scenery, characters, sets, costumes, and pretty much everything, making it a big name in the hall of Hollywood classics. 

The Great Train Robbery [G]

A group of bandits plan to pull off a great train robbery. It begins in a telegraph office where two bandits force the operator to send a false message to the train so that it will make an unscheduled stop for water. From there the bandits board the train, hold up the passengers, enter the mail car and steal from the safe before making off with the loot on horseback. But when the telegraph operator wakes up, he calls for assistance and the plan is interrupted by a great chase and shootout in the woods. 

Regarded as the first Western, which became a most popular genre in later American cinema, Edwin S. Porter’s The Great Train Robbery was also a step forward for screenwriters as well as one of the first exhibitions of how the camera could engage and interact with the audience. 

Thirteen minutes of non-stop action and suspense, it’s no wonder that the film remains a significant title in cinematic history. 

A group of bandits plan to pull off a great train robbery. It begins in a telegraph office where two bandits force the operator to send a false message to the train so that it will make an unscheduled stop for water. From there the bandits board the train, hold up the passengers, enter the mail car and steal from the safe before making off with the loot on horseback. But when the telegraph operator wakes up, he calls for assistance and the plan is interrupted by a great chase and shootout in the woods. 

Where previous screenplays such as Melies’ one for A Trip to the Moon was a shopping list of a sequence of events, Porter and Marble’s script for The Great Train Robbery was the first to use descriptive language and indulge a little bit more in the narrative than the block-by-block structure that previous scripts adhered to. As a result the film’s degree of narrative sophistication and its ability to convey everything clearly considering its early date, is very impressive and remains prominent as a progressive turning point in cinematic history. 

For the most part the camera delivers mid-shots of all the action either facing straight ahead or viewing it from an angle. But there is a significant scene at the end, the most iconic in the film that depicts a close-up of a bandit firing point blank at the camera, seemingly at the audience. This shot remains a most significant shot in history as it was the first example of how the camera could be used to include the audience in the film, placing them right in the line of fire. 

Starring A. C. Abadie, Gilbert M. “Bronco Billy” Anderson, George Barnes, Walter Cameron, Frank Hanaway, Morgan Jones, Tom London, Marie Murray, and Mary Snow, The Great Train Robbery sits in age of cinema when the winds of change were blowing. Filled with action, iconic camera shots, violence, and suspense, it’s a good little one to watch, especially if you’re interested in cinematic history. 

Django Unchained [MA]

In the South, bound in chains is a black slave named Django. One night he is freed by a German bounty hunter, Dr. King Schultz, who seeks him to help him identify and capture three wanted brothers. After the job is done the two continue as a team through the winter, developing Django’s vital hunting skills and speed with a pistol. Now a free man, Django has one goal: to find and rescue his wife whom he lost in the slave trade years ago. Aided by Schultz the search leads the boys to the plantation of “Candyland” owned by the infamous and brutal Calvin Candie. Upon being granted into Candie’s company and home, they arouse the suspicion of Candie’s faithful house slave and the plan begins to take a bloody and violent downward turn. 

New Tarantino movie: FAN-FUCKING-TASTIC! I freaking worship Quentin Tarantino. He can do no wrong. Django Unchained was bloody, brutal, dramatic, and riddled with bullet holes of red-hot wit! I LOVED THIS MOVIE! 

In the South, bound in chains is a black slave named Django. One night he is freed by a German bounty hunter, Dr. King Schultz, who seeks him to help him identify and capture three wanted brothers. After the job is done the two continue as a team through the winter, developing Django’s vital hunting skills and speed with a pistol. Now a free man, Django has one goal: to find and rescue his wife whom he lost in the slave trade years ago. Aided by Schultz the search leads the boys to the plantation of “Candyland” owned by the infamous and brutal Calvin Candie. Upon being granted into Candie’s company and home, they arouse the suspicion of Candie’s faithful house slave and the plan begins to take a bloody and violent downward turn. 

For all that I love Tarantino, I do have a somewhat negative opinion that I’d like to put on the table at this point. This movies is fucking brilliant, don’t misunderstand me. My only but about it is that it and Inglourious Basterds really are taking on that sleek shine of big budget Hollywood movies, which is unbecoming of Tarantino in some way for me. The genius of Tarantino was established through his ability to make freaking phenomenal movies on a small budget, that were rough and unpolished, and fuelled solely by the fantastic writing and the performances of course. Django Unchained is still a brilliantly written movie; I particularly love Tarantino’s reformation of the Western genre, and there are numerous areas where his irrepressible wit reigns supreme, but I can’t help but think that the Hollywood Blockbuster Polish is having a somewhat tarnishing effect on the roughness and raw genius that is a Tarantino movie. Please don’t take this to mean that I hated the film (fuck I will be adding this to the collection quite literally as soon as I finish this review), but the rougher and more intellectually creative films like Reservoir Dogs and Pulp Fiction: they’re the reasons why I worship the Man. If this were my first Tarantino movie, I’d love him and think he was killer for it, but I wouldn’t worship him for it. 

Enough of that, let’s now get to the juicy genius of this flick! For a start, Christoph Waltz: fast becoming one of my favourite actors right now! He delivers a significantly memorable performance loaded with cheekiness, compassion, not to mention that he brings all the comedy and best lines to the movie. He’s impossible not to love in this flick, which is a complete bolt away from the delightfully sinister character he played in Inglourious Basterds. I LOVE YOU MAN! 

Jamie Foxx stars as Django and man alive he was brilliant! He never missed a trick or gave anything away and there this irrevocable coolness about him. Tarantino’s screenplay, which bagged him the Academy Award is an absolute winner, loaded with bloodshed and delightful bouts of darker comedy. I’ve always admired Tarantino for his writing. 

Starring Leonardo DiCaprio (another brilliant performance), Kerry Washington, Jonah Hill, Walton Goggins, James Remar, David Steen, Dennis Christopher Laura Cayounette, and Samuel L. Jackson (but of course), Django Unchained is another classic in Tarantino’s repertoire packed to bursting with blood, violence, action, drama, and comedy. IT’S FREAKING GENIUS AS USUAL!

The Good, The Bad, and The Ugly [R]

A bandit (The Ugly) and a bounty hunter (The Good) have a somewhat sadistic partnership: one where the hunter repeatedly catches the bandit and then rescues him from hanging in order to drive the price up in his head. Just as the partnership begins to grow sour, the two discover the existence of a buried cache of $200,000 and team up again to embark upon and dangerous hunt, not even letting the battles of the warring factions of the Civil War stand in their way. Unfortunately, they are not the only ones after the gold and, inevitably, a great standoff will take place between The Good, The Bad, and The Ugly. 

Made in the 1960s, a time where the Western was fast seeping out of popular cinematic culture, The Good, The Bad, and The Ugly is a wonderful reinvention of a timeless genre, bringing with it a stronger sense of danger, tension, testosterone, and grit. The macho bravado of this movie is palpable, making it both hugely suspenseful and at the same time very funny. It’s a surprisingly engaging and mesmerising film, employing many fascinating filmmaking tricks that both compel and avert the attention of the audience. It’s really good. 

A bandit (The Ugly) and a bounty hunter (The Good) have a somewhat sadistic partnership: one where the hunter repeatedly catches the bandit and then rescues him from hanging in order to drive the price up in his head. Just as the partnership begins to grow sour, the two discover the existence of a buried cache of $200,000 and team up again to embark upon and dangerous hunt, not even letting the battles of the warring factions of the Civil War stand in their way. Unfortunately, they are not the only ones after the gold and, inevitably, a great standoff will take place between The Good, The Bad, and The Ugly. 

I first have to talk about the immortal soundtrack composed by Ennio Morricone. The title track of the film with its haunting pipe trills and vocal whines is one that is instantly recognisable: one of my earliest childhood memories is actually hearing this music on the TV or radio when I was five and being really, really frightened by it. Listening to it again as an adult, I still find the music really creepy, more so that any stabbing staccato violin or slow and incoherent choir. The combination of that high-pitched wind instrument, the vocal “wah-wah”, and the harsh electric guitar is wholly jarring and impressionable; it’s a soundtrack that is both repelling and compelling at the same time. 

As director Sergio Leone is obviously not very big on plot, the intrigue of the movie is achieved through its repertoire of inventive and atmospheric camera tricks. The brunt of the tension and delicious suspense is achieved through extreme close-ups, with most of them occurring right at the end during the climactic three-way duel between the three central “heroes”. The extreme close-ups of their squinty eyes, sweat-soaked faces, and slightly twitching hands create a marvellous sense of danger and severity. Another scene that got me was The Ugly’s desperate search for the grave where the gold is buried. We see him rushing through a huge cemetery and then the camera proceeds to spin around in circles making the graves all look a rushed blue of colour. I found that this particular use of the camera really hammered home a feeling desperation and want, it was great. 

Starring Clint Eastwood, Eli Wallace, and Lee Van Cleef as the central protagonists, The Good, The Bad, and The Ugly is a great movie packed with action, violence, gunplay, warfare, suspense, treasure, and mucho testosterone. I found it surprisingly captivating and a wonderful reinvention of a genre phased out. 

Butch Cassidy and the Sundance Kid [M]

Butch Cassidy and the Sundance Kid are the infamous outlaws and leaders of the Hole In the Wall Gang, making a fine living on robbing banks and trains. But when a train robbery goes a little too over-the-top, Butch and Sundance are forced to flee with an unrelenting posse of law enforces hot on their trail. Now the only two left of the Gang, Butch and Sundance make for Bolivia with Sundance’s lover Etta, and begin life again as bank robbers, although finding the communications barrier a bit more of a challenge. And all the while, the law is right on their backs and will not stop hunting them until they’ve breathed their last breath. 

One of the most interesting and somewhat satirical Westerns to date, Butch Cassidy and the Sundance Kid is a very well-balanced film based on true events and characters and really brought the bickering buddy picture into a league of its own. 

Butch Cassidy and the Sundance Kid are the infamous outlaws and leaders of the Hole In the Wall Gang, making a fine living on robbing banks and trains. But when a train robbery goes a little too over-the-top, Butch and Sundance are forced to flee with an unrelenting posse of law enforces hot on their trail. Now the only two left of the Gang, Butch and Sundance make for Bolivia with Sundance’s lover Etta, and begin life again as bank robbers, although finding the communications barrier a bit more of a challenge. And all the while, the law is right on their backs and will not stop hunting them until they’ve breathed their last breath. 

William Goldman’s Academy Awarding-winning screenplay brought romance, charm, and satirical and light-hearted comedy to a genre that generally was all about violence, action, and plundering (when you think about it, cowboys and bandits were the next evolutionary stage of pirates). The reworking of the two leading men into characters of charisma and charm (something the real outlaws were not) was a wonderful move considering that this is a film where the audience needs to be rooting for the bad guys. 

Paul Newman as Butch Cassidy delivered a wonderful performance as the brains behind all operations. He was charming, gentle, and human; a complete 180-degree turn away from his co-star, Robert Redford as Sundance Kid. Robert played the brooding, gun-toting cowboy exceedingly well causing audiences to both be repelled and intrigued by him. 

The other thing that makes this movie so interesting and rather un-Western is the soundtrack composed by Burt Bacharach. When you think of a Western soundtrack, you think cavalry trumpets, bugles, and that haunting flute tune from The Good, the Bad, and the Ugly. But the soundtrack that backed this movie was filled with vocal scatting harmonies and, of course, that famous scene of the bicycle ride set against Raindrops Keep Falling on My Head. How un-Western is that? 

I also have to draw attention to the wonderful cinematography. Conrad Hall’s sepia hues and immortal freeze frames brought that needed touch of class and authenticity to the film, and I really loved it.  

Starring Katherine Ross, George Furth, Cloris Leachman, Ted Cassidy, Strother Martin, and Kenneth Mars, Butch Cassidy and the Sundance Kid is a wonderful and very clever film packed with action, violence, romance, and comedy. Although it’s probably one of the most un-Western Westerns you’ll ever see, it’s still wonderfully clever and charming. 

Cowboys & Aliens [M]

1873. Arizona Territory. A stranger with no memory of his past or even his own name stumbles into the hard town of Absolution. The only hint he has to what happened to him is a nasty wound and a mysterious shackle around his wrist. First, he discovers that Absolution does not take kindly to strangers without the word of the iron-fisted Colonel Dolarhyde. Second, a race of beings not of this world has been attacking towns and obliterating human life all over the west in a search for gold. 

From the beginning, the title Cowboys and Aliens is one that will either intrigue or repel you. Either the combination of the two genres Western and Sci-Fi will not mesh or they make great entertainment together. With this film, it’s the latter. The two genres were blended together very nicely and without getting too out of place or weird, which was the case in Indiana Jones and the Kingdom of the Crystal Skull. Like Back to the Future Part III or Star Wars, Cowboys and Aliens was a rollicking film that had me captivated from start to finish. 

1872. Arizona Territory. A stranger with no memory of his past or even his own name stumbles into the hard town of Absolution. The only hint he has as to what happened to him is a nasty wound and a mysterious shackle around his wrist. First, he discovers that the town of Absolution does not take kindly to strangers without the word of the iron-fisted Colonel Dolarhyde. It’s a town that lives in fear. Second, a race of beings not of this world has been attacking towns and obliterating human life all over the west in a search for gold. 

This is a very interesting film: by no means an overly amazing achievement in cinematic history, but definitely a film that both entertains and opens the eye. Essentially the story is just this lone cowboy wanting to regain his memories and, in the process, he ends up leading a revolt against the aliens that are terrorising the desert towns. 

As I mentioned before, the blend of the two contrasting genres really worked nicely. I think the main reason for this is the fact that not an overly excess amount of special effects and general sci-fi-ness was used. You had the spacecrafts and the aliens themselves, sure, but the science fiction part of the story did not outweigh or outshine the gritty and hard Western part of the story. I think that this was a good thing because sci-fi films in general are more mind-blowing in terms of special effects and everything whereas actions and Westerns in particular are real rollicking movies that have the audience on the edge of their seats, biting their nails, and yeehaw-ing along with the characters. You experience a very different feeling watching a Western than you do watching a sci-fi and they kept that raw, rollicking feeling in this movie perfectly. 

With great performances from Daniel Craig, Harrison Ford, Olivia Wilde, Paul Dano, Adam Beach, and Sam Rockwell, Cowboys and Aliens was a highly fascinating movie that was packed with shootouts, gunplay, romance, mystery, action, and…. aliens. I didn’t think it was absolutely brilliant, but I am glad that I have seen it and I would recommend it because it’s a very clever look at what happens when you meld two completely opposite genres together. 

Blazing Saddles [PG]

A new railroad is being built, but when the track leads into quicksand, an alternative must be found. When it is planned that the track will go through the sleepy, peaceful town of Rock Ridge, it becomes apparent to the greedy man on top that the land of Rock Ridge will become very valuable. But there is just one problem: the people of Rock Ridge own the land. In an attempt to drive the locals out, Hedley LaMarr, the owner of the railroad, sends Rock Ridge a new sheriff: a black man who should last at least 24 hours and make it easier for him and his men to terrorise the town and force the locals out. 

Earning its place in The Book, and filled with memorable moments and characters, Blazing Saddles is really just a piss take of the general Wester genre and, although I did enjoy the movie and laughed a fair bit, I found the comedy to be a little bit dated. You have to remember that this film is from the 70s and, since then, a lot of more clever comical things have been accomplished. 

I still enjoyed it though. 

A new railroad is being built, but when the track leads into quicksand, an alternative must be found. When it is planned that the railroad will go through the sleepy, peaceful town of Rock Ridge, it becomes apparent the greedy man on top, Hedley LaMarr, that the land of Rock Ridge will become very valuable. There is just one problem: the people of Rock Ridge own the land. In an attempt to drive the locals out of rock Ridge, Hedley LaMarr, with the help of the inebriated and easily distracted Governor, sends the townsfolk a new sheriff: a black man whom he predicts will last at least 24 hours and make it easier for him and his men to storm the town, terrorise the inhabitants, and force them to leave. 

As I mentioned before, Blazing Saddles is a piss take of the Western genre where the comedy comes in the form of political, religious, and racial points and arguments. A few modern references such as the car at the end (which could have been the inspiration to the ending of Monty Python and the Holy Grail), the Nazis and Klu Klux Clansmen, and the general final ten minutes of the film, creep into the mix, which brings the visual humour to the film and plays against the verbal humour; e.g. the continuous blanking out the of the N word. 

Some of the gags are the result of clever writing, but most are visual and verbal racial and violence humour that would not be as appreciated by a modern audience. I appreciate the fun and the cleverness behind Blazing Saddles, but I think that, since then, Mel Brooks has done some much cleverer stuff e.g. High Anxiety and, to a lesser extent Silent Movie. 

Starring Cleavon Little, Gene Wilder, Slim Pickens, Harvey Korman, Dom DeLuise, and Madeline Khan, Blazing Saddles is just as fun as any old-fashioned dust-filled Western with the addition of political, racial, sexual, and musical humour. Everyone will get some thrill out of it, whether it be from the Klu Klux Clansmen signing up to join a gunslinger group or the mere sight a man randomly knocking out a horse.

Where the white women at?

My Darling Clementine [G]

When a family of notorious cattle rustlers murders Wyatt Earp’s brother James, he becomes the new Marshall of the town of Tombstone in an effort to find the killers and avenge his brother’s death. But keeping the little town a safe place proves harder than expected as Wyatt finds himself dealing with the cantankerous Doc Holliday, the feisty damsel Chihuaha, and to top everything off, he falls in love with Clementine, a former flame of Doc Holliday. 

Maybe you need to know the story or maybe I just wasn’t in the mood for a film tonight. Whatever the reason, I honestly did not see the point to this film. Everything about it seemed wooden and subdued and there was no real passion or vibrancy about it at all. 

When a family of notorious cattle rustlers murders Wyatt Earp’s brother James, he becomes the new Marshall for the town of Tombstone in an effort to find the killers and avenge his brother’s death. But keeping the little town a safe place proves much more difficult than expected as Wyatt finds himself pitting against the cantankerous Doc Holliday, the feisty damsel Chihuaha, and, to top everything off, he falls in love with Clementine, a former flame of Doc Holliday’s. 

For me, the film just didn’t seem to go anywhere. The story is easy enough to follow, but I honestly cannot see what makes the movie so special. I’ll admit that the characters were memorable, I did particularly like Doc Holliday, Chihuaha, and the Shakespearean actor who could not remember the To Be Or Not To Be monologue from Hamlet, but ultimately the story was bland, the performances were rather wooden, and even the climactic actiony shoot-out towards the end was a bit of a downer. I’m sorry. Maybe I’m just being uncultured and ignorant, but I really did not see the point of this film. 

Starring Henry Fonda, Linda Darnell, Victor Mature, Cathy Downs, Walter Brennan, Tim Holt, Ward Bond, Alan Mowbray, John Ireland, Roy Roberts, Jane Darwell, Grant Withers, J. Farrell MacDonald, and Russell Simpson, My Darling Clementine was a fine film for what it was, but I didn’t think it was all that. Filled with drama, romance, comedy, and action, it’s one of those films that you have to see at least once. 

Back to the Future Part III [PG]

Marty is stuck in 1955 as the Doc from 1985 and the DeLorean have been struck by lightning and sent back to 1885. With a letter and careful instructions from the Doc, Marty and the Doc from 1955 dig up the time machine and set to work repairing it so that Marty can go home. However, that plan changes when Marty discovers the tombstone of none other then Emmett Brown and he decides to go back to the past to save the Doc from a grim future. 

The final instalment in the Back to the Future trilogy, Back to the Future Part III is a classic Western with a science fiction twist. A great rollicking film that the whole family can enjoy. 

Marty is stuck in 1955 with only a letter from the Doc explaining what happened after the DeLorean was struck by lightning: the flex capacitor was activated and the Doc was sent back to 1885. Having happily set himself up as a blacksmith in the Old West, the Doc gives Marty explicit instructions no to come back and get him, but to go directly to 1985. With the Doc from 1955 working on restoring the time machine to working order, it seems that everything is going off without a hitch. However, when Marty discovers the tombstone of Emmett Brown, it becomes imperative that he travel back to the past and save the Doc from a grim future. 

This film was pretty much like its predecessors only it was more of a classic gunslinger Western than a science fiction film. All the action takes place against an old west setting, which makes the modern references to Michael Jackson and stuff much more entertaining. 

I’ve decided that what I particularly love about these movies is they’re lack of reliance on special effects. You would think that a science fiction movie would be jam-packed with computer graphics and all sorts of stuff like that, but in these films the emphasis is on the characters and there is a minimal amount of special effects used. It makes it all the more believable I feel.  

Like Back to the Future Part II, it is a film of dual roles as Michael J. Fox plays both Marty McFly and Seamus McFly. Lea Thompson plays both Lorraine McFly and Maggie McFly, and Thomas F. Wilson plays both Biff  Tannen and Buford “Mad Dog” Tannen. Although the ending is a bit cheesy and too full of closure, the film ultimately is a timeless classic. 

Also starring Crispin Glover, Elizabeth Shue, and Mary Steenburgen, Back to the Future Part III was the final chapter in the Back to the Future trilogy and was filled with action, romance, suspense, gunfights, hold-ups, and more. Just as fun as the other films, it’s a classic!