Sergio Leone Web Board
Welcome, Guest. Please login or register.
October 23, 2017, 05:54:46 AM
Home Help Search Calendar Login Register

  Show Posts
Pages: 1 ... 3 4 [5] 6 7 ... 36
61  Films of Sergio Leone / Other Films / Re: La resa dei conti aka The Big Gundown (1966) on: September 12, 2017, 12:26:25 PM
Adding >

If you don't kill me right now, it'll be the last mistake you make.

La resa dei conti (The Big Gundown) is directed by Sergio Sollima and written by Sollima and Sergio Donati. It stars Lee Van Cleef, Tomas Milian, Walter Barnes and Gerard Herter. Music is by Ennio Morricone and cinematography by Carlo Calini.

Superior Spaghetti Western with shades of Zapata for good measure, The Big Gundown finds Van Cleef as bounty hunter - cum - unofficial lawman Jonathan Corbett, whose reputation for bringing in the criminals, dead or alive, has caught the attention of business baron Brockston (Barnes). With an interest in getting into politics, Corbett is sold on Brockston's offer of political help if he will do a job for him. The job is to hunt down a Mexican rogue by the name of Cuchillo (Milian) who is alleged to have raped and murdered a 12 year old girl. Tracking Cuchillo across the land, the Mexican proves to be a slippery customer, and more importantly, Corbett begins to doubt the veracity of the charges against him.

Adios Amigo.

What do you need for a great Italo Western? A leading man with screen presence supreme? Check! Rogue antagonist able to overact opposite the leading man whilst still exuding charm personified? Check! Scorching vistas? Check! A musical score so in tune with the story it's a character all by itself? Check! And violence? Check! Sollima's movie has it all.

Much of the film is about the manhunt and how the two men involved develop a relationship. Cuchillo claims he's being set up and seems to have friends in every town featured in the play. Corbett is a dandy with a gun, but he's not perfect, he can be outsmarted and get caught cold. There's good thought gone into the screenplay in this respect, not putting the anti-hero up as an infallible superman.

Then there's the side-bar narrative strands that show Sollima's political bent, even though this is hardly a heavily politico piece. From class struggles and racism, to asides on the justice system and the fat cats who operate around the system, Sollima does enjoy dangling such carrots. With zippy set pieces fuelled by brooding machismo that is in turn enhanced by the top work from Carlini and Morricone (it's one of Moricone's best scores, real dynamite), this is grade "A" Spaghetti and well worth feasting on. 9/10
62  Films of Sergio Leone / Other Films / Re: The Walking Hills (1949) on: September 10, 2017, 06:26:20 AM

Like shovelling sand into the wind.

The Walking Hills is directed by John Sturges and written by Alan LeMay. It stars Randolph Scott, Ella Raines, Arthur Kennedy, Edgar Buchanan, John Ireland, William Bishop, Josh White and Jerome Courtland. Music is by Arthur Morton and cinematography by Charles Lawton Jr.

Upon hearing a chance statement about lost gold, a disparate group of people head out in search of it to the desert plains of The Walking Hills...

Whipping up a sandstorm.

A sort of contemporary Western film noir fusion, The Walking Hills is a darn fine drama that is acted accordingly. Though blessed with action, tension and passion, it's as a character study where the picture excels. True enough to say it's not overly complex stuff, the greed is bad motif a standard narrative strand, as is the tricky love triangle that resides within the sandy tale, but with the wily Sturges and the shrewd LeMay pulling the strings this plays out always as compelling. With the great Lawton Jr. adding his considerable skills as a photographer - ensuring the Alabama Hills and Death Valley locations are key characters themselves - the production shines.

Often mentioned in reference to The Treasure of the Sierra Madre, it of course is not as good as that superb picture. That it earns its right to be considered a baby brother to it, though, is testament to its worth in itself. 7/10
63  Films of Sergio Leone / Other Films / Re: Ulzana's Raid (1972) on: September 10, 2017, 02:19:16 AM
Why should I think you made it up?

Still I'm interested why 3 min, and where is the source for that? 3 min from the Lancaster cut, or 3 min not to be found in both versions? Maybe you got some wrong info then.
On the Wiki site one can read for example:

"There are two cuts of the film because Burt Lancaster helped to produce the movie. One version was edited under the supervision of Aldrich, the other by Lancaster. There are many subtle differences between the two although the overall running times are similar and most of the changes involve alterations of shots or lines of dialogue within scenes."

Which is simply not true.

That the Lancaster Cut contains about 8 min not to be found in the Aldrich cut is a fact. I still have that long version on VHS. And 4 scenes can be found somewhere in the www, probably on Youtube too.
And that Aldrich said that the US version is his version, which wasn't touched by anybody, is another fact. And therefore it must be called the DC. He said that, albeit slightly indirectly, in an interview from 1976. I can give you the complete quote, if you want.

But funnily, even in that 111 min version it would have been Aldrich's shortest film since The Last Sunset (1961). And his version is considerably shorter than anything he did since then, with most of his films running over 120 min.

It felt like you were doubting my veracity, well you are!

This from the 13th Virgin Film Guide (based on the definitive industry database), an excerpt from their review >

Regrettably, this challenging film was much abused by its studio, and SEVERAL different versions were circulated, including a European cut containing alternate takes and slightly altered scene construction (most notable in the film's opening section.

This is just a review that I have to hand, like I have said, I researched the topic because if I'm reviewing a film I admire I want to get as much info in as I can. I can assure you the three minutes is out there cuz I saw it, and I had it pinned to six versions (as opposed to several!).

I'll take on board your contribution to the UR archives regardless but I'm still not changing anything. What we do agree on is it's a great fecking film!
64  Films of Sergio Leone / Other Films / Gunfighters (1947) on: September 10, 2017, 02:02:42 AM

Nothing left to do but try again.

Gunfighters (AKA: The Assassin) is directed by George Waggner and adapted to screenplay by Alan Le May from the novel "Twin Sombreros" written by Zane Grey. It stars Randolph Scott, Barbara Britton, Bruce Cabot, Dorothy Hart, Griff Barnett and Forest Tucker. Music is by Rudy Schrager and Gerard Carbonara and cinematography by Fred Jackman Jr.

A gunman who has laid down his guns finds that circumstances test him to the limit...

It's a familiar formula that any Western film fan can acknowledge as being over used, that's not to say that the right production isn't worth visiting as such, but expectation of something fresh can often lead to dissappointment.

Built on solid foundations due to scorching location photography and Randolph Scott prepping himself for greater things in the next decade (see also The Walking Hills 1949), it's a pleasurable piece. It also - via the narrative - isn't afraid to be bold as regards the ultimate decisions made by Scott's Brazos character, giving the pic a darker edge and being all the better for it. Elsewhere, the villains are standard stuff but entertaining regardless, the twin beauties of Britton and Hart have interesting parts to play, and the action scenes are well put together - with the pursuit sequences exciting. Filmed in Cinecolor, it's nice to report this is one of the better photographed Westerns in that format, which is just as well because the Sedona locations are to die for.

Not what you would term a keeper, but for Western fans of the era and Scott fans in general, it's worth its salt. 6.5/10

UK Cable.
65  Films of Sergio Leone / Other Films / Re: Ulzana's Raid (1972) on: September 06, 2017, 07:53:32 AM
Well, where do you have these 3 min information taken from? The difference between the long version and the German DVD is not 3 min, but about 8 min, and then logically between the long version and the Lancaster cut about 10 min.
And this 111 min version contains every known footage of Ulzana's Raid.

But I still don't know which are your sources for your claims.

The German DVD from Universal is the same version as the US DVD, which would have been the same version for the UK DVD, if this one hadn't been censored by these horsefall cuts. Well, individually censored versions are not really official versions. And any kind of home video or TV versions which were cut for individual reasons by distributors do also not really count.
This leaves us basically with the 3 different versions mentioned by me above. Well, 2 more than there should be.
And the Universal DVD is the uncut version of the film, as it represents the DC from Aldrich. According to Aldrich the US theatrical version represents his version, and nothing was cut from it or altered against his wishes. Only that Lancaster released another version in Europe. Which is then a second official version, but not a second DC. And therefore is the combined version also not a DC, but an unofficial long version.

I must have made it up then...

Dear me, do you think that is the case? Look, I'm not about to go trawling through archives like I did 9 years ago. I read it and used the information in my review, and the reviews stands - a review printed in a London paper that year and stands at 21/21 on IMDb and has been used on a number of sites elsewhere - not as a claim, but as stated. Believe it or not, I certainly wont be changing it or losing sleep over it.

 Roll Eyes
66  Films of Sergio Leone / Other Films / Re: Ulzana's Raid (1972) on: September 06, 2017, 01:55:44 AM
Explain this with the 6 cuts more precise. And these 3 min missing. Missing from what cut?

I know about 3 cuts:

1. The Aldrich cut, released in the USA, which must be called the DC, according to Aldrich.

2. The Lancaster cut, as released theatrically in Europe.

3. An unofficial blend of both versions which runs about 111 min. Compiled by a German TV station in 1986.

I said Home Entertainment mate. Since I wrote that (2008) there could well be more versions available. Some have various violence and animal sequences excised, others have them spliced or edited down. At the time of writing the review there was no definitive uncut version, and to my knowledge there isn't one now. The three minutes are made up of the various cuts made from different releases, there is no version without any cuts or thinned down scenes. I did extensive research back in 08 to find the best available home format release for my own collection, I plumped for the German DVD. A fully restored original cut of the film with everything untouched would be 3 minutes  longer.
67  Films of Sergio Leone / Other Films / Re: A Pistol for Ringo on: September 03, 2017, 10:15:06 AM
Somebody has come for Christmas!

Una pistola per Ringo (A Pistol for Ringo) is directed and predominantly written by Duccio Tessari. It stars Giuliano Gemma, Fernando Sancho, Lorella De Luca, Nieves Navarro and Antonio Casas. Music is by Ennio Morricone and cinematography by Francisco Marin.

When a gang of bandit bank robbers hole up at a rich family's hacienda - taking all who reside there as hostages - the authorities free the gunman known as "Angel Face" from prison to ingratiate himself into the bandit horde. His mission is to destroy from within and free the innocent...

Filmed in Technicolor/Techniscope out of the familiar Spaghetti Western stomping grounds of Almeria in Spain, A Pistol for Ringo is a very enjoyable piece of pasta. From the quirky sight that greets us at pic's beginning, where our anti-hero gunman with the baby face plays hopscotch with children - then quickly dispatching four enemies enemies in the blink of an eye - to the wholly satisfying finale, it's quirky yet dramatic entertainment.

Set at Xmas time, Duccio enjoys dallying with the season's motifs as part of the narrative, and even Morricone gets in on the act, imbuing his varied score with seasonal strains (the Silent Night section simply wonderful). Gemma is very likable in the lead role, helped enormously by a screenplay that introduces a character that uses cunning whiles that are as deadly as his pistol skills. He is also very athletic (no doubt boosted by the calcium from all the milk he drinks), which brings some energy to the narrative. What action there is is brisk and zippy, with heaps of horse and stuntman felling going on, and little stabs of humorous violence (the bell shot oh my) induce smiles. Add in a couple of verbally jousting babes (Luca and Navarro) and Sancho as a bulky and moody bastardo, and yer good to go for one of the better Spags of the time. 7/10
68  Films of Sergio Leone / Other Films / Re: Ulzana's Raid (1972) on: September 03, 2017, 10:12:20 AM
Superb picture from a superb director.

Maybe you don't want to think of the white man being savage like the Apache?

Apache renegade Ulzana goes on a murder raid, hot on his trail is a posse of cavalrymen. Led by the young and inexperienced Lt. Garnett DeBuin, the cavalrymen in order to survive and defeat Ulzana, must rely on the help of tough old scout McIntosh and his trusty Indian friend, Ke-Ni-Tay.

Directed masterfully by Robert Aldrich (The Dirty Dozen & The Longest Yard), Ulzana's Raid is just shy of being an uncompromising masterpiece. There is no pandering to political correctness here, this is showing the bitter hostility of the Indian war, torture and murderous inclination is the order of the day. The allegories to Vietnam are hard to ignore as our band of men are struggling out in the wilderness against Ulzana's hostile raiders, the sprawling mountainous landscape another tool to the already handily equipped Apache.

What lifts Ulzana's Raid high above many of its contemporaries is its on the money dialogue. A wonderfully complex script from Alan Sharp manages to make all the characters intriguing and deserving of further delving. The Apache are savage, and Aldrich doesn't flinch from showing this, but they are afforded respect, and crucially, understanding. Ulzana's Raid could quite easily have been a one sided blood letting exercise in Western folklore, but it isn't. The motives and attitudes of the white man party is there for all to scrutinise, with much attention to detail given as the many conversations bring rich and rewarding results to the discerning viewer. From the off it's evident that McIntosh & DeBuin have vastly different views of Ulzana's actions, but as the film moves forward; all manner of questions leap out, be it Christian values, racial hatred or merely imperialistic trust; all parties involved are hurtling towards the final reckoning.

Burt Lancaster is perfect as McIntosh, grizzled and carrying a frame made for such a rigorous terrain. Playing DeBuin is Bruce Davison, boyish charm fused expertly with unwanted bravado, while stealing the film is Jorge Luke as Ke-Ni-Tay. A performance of great depth that holds and binds the picture brilliantly. Sadly this film has been a victim of much interference over the years, (studio and Lancaster himself to blame), so much so there is thought to be about 6 cuts of the film out there in the home entertainment world. Thankfully we are now able to get a cut of the film that is almost complete, but still there remains to this day no definitive full cut of the film. German (the version I own) and Australian releases proclaim to have it uncut, but that's not accurate because there is still some three minutes missing from the very first cut of it: including a quite crucial sequence involving Sergeant and Trooper Miller. Still, it has to be said that even with 3 minutes chopped out of it, Ulzana's Raid is still a grim and brilliant piece of work. Showing the savagery from both sides of the fence, Aldrich and his team refuse to cop out and pander to formula. 9/10
69  Films of Sergio Leone / Other Films / Red Hill (2010) on: August 28, 2017, 07:43:54 AM

The Panther of the Prairie.

Red Hill is written and directed by Patrick Hughes. It stars Ryan Kwanten, Steve Bisley, Tom E. Lewis and Claire van der Boom. Music is by Dmitri Golovko and cinematography by Tim Hudson.

Young city cop Shane Cooper (Kwanten) gets a transfer to Red Hill, a place he hopes is a quiet enough town for himself and his pregnant wife to successfully raise a family. But his arrival at work coincides with the escape from prison of aborigine Jimmy Conway (Lewis), who is heading into town with revenge firmly on his mind.

Jimmy Conway has escaped and he's bringing hell into town.

Utterly splendid Neo-Western out of Australia. For his feature film debut, Patrick Hughes has crafted a loving homage to the Western genre whilst also imbuing his film with its own suspenseful blood. Blending Ozploitaton thriller values with Western genre staples of the past, Red Hill unspools on narrative terms as a gritty and rugged revenge piece.

Red Hill the town is fronted by gruff sheriff Old Bill (Bisley), he leads a pack of scuzzy characters who consider it their town and god help anyone who stands in their way. Into this maelstrom comes fresh faced Shane Cooper (yes the name is Alan Ladd and High Noon purposely spliced together), a genuine and honest copper harnessing a tragedy as well as a moral code that's not for shaking.

After quickly finding out that Old Bill is lacking in human graces, Shane finds himself coming face to face with Conway, who is all the horsemen of the apocalypse rolled into one. Face badly scarred and adorned with weapons and duster, Conway seems to have supernatural resources to go with his expert tracking skills and knowledge of the surrounding outback terrain (so think High Plains Drifter & Chato's Land then).

How come, though, that as he callously goes about killing off members of the scuzzy crew, each time he meets up with Shane, who is in full tilt survival mode, Conway refuses to kill Shane? And just what is that symbolic Panther doing stalking the edges of the landscape? One and the same, perhaps? It will of course all be revealed, and in truth it's no great surprise, the beauty is in how Hughes has toyed with our perceptions about Conway, this in turn makes for a cracker-jack finale.

Performances are superbly in tune with the material, Cooper, Lewis and Bisley really manage to steer their respective characters away from being histrionic or cartoonish. Musically it features stabs of delightful grungy rock blending in with Golovko's mournfully ironic score. The widescreen photography is most interesting, in that there's often smart shifting between a washed out palette to emphasise the remoteness of the setting, to opened up capturing of the beautiful vistas (filmed on location in Omeo, Victoria). The Blu-ray is a must for anyone interested in the film.

The sparse location is matched by sparse dialogue, there is no need for extraneous conversations or pointless filler, Hughes knows what he is doing. It's made with love and respect to one of the finest of film genres, and hooray to that! 8/10

Region B Blu-ray.
70  Films of Sergio Leone / Other Films / Re: Rawhide (1951) on: August 28, 2017, 07:38:08 AM

Desperate Siege.

Rawhide is directed by Henry Hathaway and written by Dudley Nichols. It stars Tyrone Power, Susan Hayward, Hugh Marlowe, Jack Elam, George Tobias, Dean Jagger and Edgar Buchanan. Music is by Sol Kaplan and Lionel Newman and cinematography by Milton Krasner.

A stagecoach station employee and a stranded woman traveller and her baby niece find themselves held hostage by four escaped convicts intending to rob the next day's gold shipment.

A Western remake of 1935 crime film Show Them No Mercy, Rawhide is the embodiment of a solid Western production. Beautifully photographed in black and white by Krasner, smoothly performed by a strong cast of actors and seamlessly directed by the astute Hathaway, it builds the hostage plot slowly, tightening the screws of character development a bit at a time, and it unfolds in a blaze of glory come film's end.

Characterisations are always interesting, if a bit conventional to anyone who has watched a lot of Oaters. Power is of course our hero in waiting and Hayward is spunky and feisty, I wonder if they will get together romantically? The four convicts are your typical scuzzy types, with Marlowe dominating the screen as the intelligent leader saddled with cohorts he really doesn't care for, while Elam is wonderfully vile as a lecherous loose cannon.

The thematics of greed, sexual hostility and jeopardy for Hayward and child keep the pot boiling nicely, so suspense is a constant, and some thought has gone into the writing as regards the convict group dynamic. Sadly Kaplan's musical score is quite often cheese laden, even ridiculously jolly and not at one with the noirish thriller conventions of the story. But regardless of irritating musical interludes, this is a very good Oater and comfortably recommended to Western fans who want more than your standard shoot em' up B pictures. 7.5/10
71  Films of Sergio Leone / Other Films / Canyon Pass (1951) on: August 28, 2017, 07:34:39 AM

Thou shall not pass this pass!

Raton Pass is directed by Edwin L. Marin and written by Thomas W. Blackburn and James R. Webb. It stars Dennis Morgan, Patricia Neal, Steve Cochran, Scott Forbes and Dorothy Hart. Music is by Max Steiner and cinematography by Wilfred M. Cline.

Two families feuding over land either side of Raton Pass, New Mexico. Into their lives comes a beautiful seductress with manipulation and land dominance on her agenda...

Well well, what a treat. Something of a rare, little known or seen Oater, Raton Pass (AKA: Canyon Pass) really takes you by surprise. From the off we can see and hear this is a very nice production, with the twin greats of Steiner and Cline working their magic. Steiner's title music is Latino flavoured and then he introduces deft character motifs for the protagonists, while Cline's crisp black and white photography holds the eyes considerably.

For thirty minutes the picture simmers away like a standard "B" Western threatening to dull the senses with formulaic tedium, this is another reason why Steiner and Cline should be lauded as their work keeps you interested. But then the film completely turns, you notice that Cline's photography has suddenly shifted into film noir territory, and Neal has skillfully shifted from being the new loving wife on the block, to a complete femme fatale bitch! The plot dynamics now have a real edge, and as the smouldering Neal works her feminine whiles, this part of New Mexico territory boils away furiously until it inevitably explodes and spells doom and disappointment for some...

There's some crappy back projection work that undermines the quality elsewhere and the odd character is stereotypical of some Westerns of the period, but this has much to recommend. Marin (Johnny Angel/Nocturne/Colt.45/Sugarfoot) is fluid in his direction, while Neal and noir icon Cochran hold the screen as Max and Wilfred do their stuff. Currently licensed to TCM UK and available in HD format, I would urge any noir and Western fan in the UK to take the chance to see this rare picture the next time it shows. It doesn't deserve to stay rare. 7.5/10

UK Cable.
72  Films of Sergio Leone / Other Films / Re: Rancho Notorious (1952) on: August 28, 2017, 07:27:02 AM

Tricky beginning blooms into something quite unique.

The third and last Western by Fritz Lang, Rancho Notorious is a weird, distinctive, film-noir infused Oater containing familiar Fritz Lang themes. Adapted by Daniel Taradash from an original story by Silvia Richards, the story follows Arthur Kennedy's frontiersman Vern Haskell as he trawls the West in search of the culprit responsible for the rape and murder of his fiancée. He winds up at a place known as Chuck-a-Luck, a ranch and front for a criminal hideout that is run by smouldering chanteuse Altar Keane {Marlene Dietrich}. Posing as a criminal himself, Haskell hooks up with gunslinger Frenchy Fairmont {Mel Ferrer} and infiltrates the unsavoury mob behind the scenes of the Chuck-a-Luck. But problems arise as both Haskell and Frenchy vie for the attentions of Altar and slowly but surely, as Haskell gets closer to his target, it's evident that he is so torn and twisted by revenge he's become as bad as the villains he now aims to bring down.

Reference Fritz Lang, love, betrayal and retribution, cloak them in a decidedly feminist sheen and what you get is Rancho Notorious. That the film is an oddity is something of an understatement, yet it works in a very unique sort of way. The film opens with one of the most god awful title songs used in Westerns, "Legend of Chuck-A-Luck" song by Bill Lee, from then the tune is used at points of reference in the narrative. It seems like a joke song, hell it sounds like a joke song, but within the first quarter of the film a pretty young lady is raped and murdered, Haskell is informed that she "wasn't spared anything," this is completely at odds with the tone that had been set at that time. The Technicolour photography provided by Hal Mohr has a garish sheen to it, this too gives the film a confused feel, most likely the intention there is to convey a sense of gloom as Haskell's bile starts to rise. And then the first sight of Dietrich, astride a man, riding him like a horse in some bizarre barroom contest. All of which points to Lang perhaps being over audacious with his intentions. But he wasn't, and to stay with the film brings many rewards as he revels in the tale of inner turmoil. This ultimately becomes a perfect companion piece to Lang's brilliant film noir the following year, The Big Heat. The similarities between the lead male protagonist and the femme fatale are impossible to cast aside as being mere coincidence. Rest assured Lang was at home with these themes, and cinema fans are the better for it.

It was a troubled production tho, one that belies the quality of the final product. Studio head Howard Hughes kept interfering {nothing new there of course}, even taking away control of the editing from the increasingly infuriated Lang. While the relationship between the fiery director and Dietrich broke down to such an extent they stopped talking to each other by the end of the film. Dietrich was troubled by her age at this time, often begging Mohr to work miracles with his photography to convey a more youthful look for the once "Babe of Berlin". Yet she need not of worried for her real life concerns dovetail with that of her character, which in turn gives the film a revelatory performance. With Dietrich backed up by the similarity excellent Kennedy, Rancho Notorious has much class to go with its odd and visionary touches. A different sort of Western to be sure, but most definitely a Fritz Lang baby, this deserves the classic status that is now afforded it. 8/10
73  Films of Sergio Leone / Other Films / Re: Rage at Dawn (1955) on: August 28, 2017, 07:14:32 AM

Would it have made a difference knowing what I really am?

This is the true story of the Reno brothers....Clint, a respected farmer, and Frank, Simeon, John, and Bill...who were the first train robbers in American history. Looting, burning and killing, this infamous clan rode through the middle border states setting the pattern for the great outlaw bands which were to follow: the James boys, the Daltons and the Youngers.

The Year 1866, the place is Southern Indiana.

Well not quite Indiana exactly as the film was shot on location at Columbia State Historic Park, and apparently some Western purists see this as a blip on the movies Western worth! (hmm) I don't conspire to that at all since what I want from a B Western such as this is a lush Western feel, with identifiable good and bad guys. I feel that director Tim Whelan achieves the latter and his cinematographer Ray Rennahan achieves the former. Rage At Dawn does have a sense of seen it all before about it, but that's not in detriment to it because it's possibly a picture that has been copied more than it has copied from others before it. It's nice to have a real solid Western using a proper and reliable story to work from. While using top professional actors like Forrest Tucker and J. Carrol Naish to be bad fellas obviously helps the piece; as does having the genre legend that is Randolph Scott as your ebullient good guy. Scott fans who haven't seen the picture should be advised, tho, that he isn't actually in the film for the first third. But as always he's worth the wait and it's clever of Whelan to keep us waiting whilst fully forming the Reno legend.

With some nicely staged set pieces (the train scenes are well worth our time) and a fabulously dark turn of events in the finale that goes against the grain (shadow play supreme at work), this becomes a genre film well worth taking a peek at. 7/10

Footnote: DVD/Public Domain prints of the film are low on quality and do not do justice to the location and costuming. The best print I have seen of this film was on Commercial British TV. Caution is advised on where you source the film from.
74  Films of Sergio Leone / Other Films / Re: A Pistol for Ringo on: August 28, 2017, 02:05:53 AM
Watched last night, really liked it. I knew right from the hopscotch opening that It would be worth the view.

Review Pending.
75  Films of Sergio Leone / Other Films / POS on: August 26, 2017, 10:17:44 AM
Pouring cold water in Coldiron.

I see why some folk like it, the downbeat and harsher edges appealing, if only it wasn't so badly constructed and played! It is to my mind a classic example of the funk American Westerns had got themselves into at this juncture of genre film making.

Michael Rennie and Bill Bixby are badly miscast, Claude Akins overacts to within an inch of his life (a rare poor show from him), while Bernard McEveety's direction shows why he was more at home in TV work. It all looks desperately fake, the interiors of key buildings looking like Wild West themed restaurants, the rest of the exteriors looking like what they are - stages! (most likely built from Chuck Connors' woodenness) Script is weak, which leads to a story that is never once authentic in tone or feeling, scenarios that are meant to be telling are unconvincing and the action is laughably staged.

No hidden or misunderstood gem here, just bad film making that irritates as opposed to entertaining. 1/10
Pages: 1 ... 3 4 [5] 6 7 ... 36


Powered by SMF 1.1.21 | SMF © 2015, Simple Machines
Page created in 0.1 seconds with 18 queries.