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Author Topic: The Shootist (1976)  (Read 4259 times)
stanton
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« Reply #15 on: April 11, 2011, 02:30:37 AM »

Imo there is no reason not to think that FoF and FaFDM were set in a the typical fantasy west. In the mythical west most of the usual westerns were set. After the civil war and before the "closing" of the frontier in the early 80s.


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« Reply #16 on: April 11, 2011, 08:01:13 AM »

You can think whatever you want, its just that if you know something about when this happened or when that happened or when that style was used or when the tracks were built you can kind of nail them down to a time frame.

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also, how do you know how often the newspaper was printed? is it possible that it was a daily paper? if so, the entire book may be from just one year's issues...?

If its just a year then 1873 would have no railroads, nada, in El Paso. I don't think there would be enough content for a daily paper, maybe a bi-weekly at best.

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« Reply #17 on: April 11, 2011, 08:28:12 AM »

Imo there is no reason not to think that FoF and FaFDM were set in a the typical fantasy west. In the mythical west most of the usual westerns were set. After the civil war and before the "closing" of the frontier in the early 80s.



The problem with this approach is that the trend would be to completely fantasize the West, compare the two 3:10 to Yuma films, one is pretty straight forward psychological battle, the remake uses way to many implausible things, sharpshooters at the beginning that can't hit a thing in the end, a guy gets shot point blank in the guts (in reality the bullet should have passed right through him) has that bullet removed (as if it was a mere splinter) and he's up and riding around a few hours later. A decoy locked in a stage with no key or weapons, a guy with a wooden foot sprinting  basically a sky-lighted target on roof rafters, come on.....

Mythologizing the West is good, fantasy is bad.

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« Reply #18 on: April 11, 2011, 09:11:26 AM »

Nice to see we've got you back to what really matters, eg. mocking 3:10 to Yuma.

The problem is pretty self-evident. Look at the bridge battle in GBU - Leone has Napoleonic War-era mortars alongside Gatling guns and artillery dating from the 1870s. Using props to identify when a film takes place would be no help in this instance.

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« Reply #19 on: April 11, 2011, 09:21:50 AM »

Anyway - this thread's about The Shootist not FAFDM.

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drinkanddestroy
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« Reply #20 on: May 10, 2014, 11:31:37 PM »

I just saw The Shootist for the second time, I give it a 7.5/10. I love the idea, seems so perfect for John Wayne to end his career with this, although I learned (courtesy of Scott Eyman's discussion prior to the movie with Robert Osborne on TCM) that this wasn't supposed to be for Wayne all along, they were originally thinking of George C. Scott; and it wasn't supposed to be Wayne's last movie, he was thinking of doing more later on but his health deteriorated and he couldn't do any more before dying 3 years later. But in a way, it's so perfect that this was Wayne's last film, this character he's been playing his whole life - his life and character have basically become one and now he has to end in a blaze of glory, just as the West is ending, he is becoming an anachronism. The Shootist basically finished off the Western genre. Whatever you wanna consider as the "golden age of the western" -  perhaps you wanna start it in 1939 with Stagecoach, or even earlier in the silent era, and maybe you wanna say it ends in late 60's or early 70's - IMO the absolute latest date you can possibly put it at is 1976 with The Shootist, say what you want, Wayne was the face of the Western more than any other single person, his death here, I think it's just a great way for him to have gone out.

I mentioned in the discussion of Gran Torino (which was supposedly gonna be the last movie Eastwood acted in, though he later did Trouble with the Curve) that the ending here reminded me of The Shootist, the legendary movie actor/character goes out in style, but really, Eastwood's character in GT was not the tough-guy character he had played all his life, whether in Westerns or Dirty Harry or other movies; but Wayne's character in TS really was an appropriate way to say goodbye. It was nice that they brought back all those other Western actors that he had co-starred with through the years.

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« Reply #21 on: June 26, 2014, 02:23:44 AM »

not sure if this has ever been posted before; here is a nice 2-minute clip of Eastwood talking about what happened on the set of The Shootist when Don Seigel instructed John Wayne to shoot a man in the back http://www.youtube.com/watch?v=h_ncnL0iejo

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« Reply #22 on: February 13, 2015, 07:36:34 PM »

I saw again this one after decades.  The movie is good, but not extraordinary. Lots you've seen before. But Wayne here demonstrates again what underappreciated actor he was. There's not a single expression of his face which is not less than perfect, and so his delivery. Much was made of Cooper's acting ability, but Wayne is on the same level, actually I think he's even more natural (Cooper to me looks always a bit contrived, at least compare to wayne). This is s Oscar worthy performance, but of course only us western buffs will acknowledge it. About the Eastwood interview, he gives the impression that it was Siegel's idea to try to have him shoot in the back an opponent. But in the featurette O'Brien does explain that it was already in the novel: so Wayne must have known already before shooting began waht was expected of his character. But O'Brien confirms the Wayne's reaction as described by Eastwood. Also, in the novel it is Rick Cunnngham who kills Wayne: but the producers were appalled by the idea and changed the finale. I'll have to read the novel. 

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stanton
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« Reply #23 on: February 14, 2015, 02:39:31 AM »

I never assumed that Gary Cooper can act.

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« Reply #24 on: February 14, 2015, 05:10:00 PM »

I really don't have that much use for Gary Cooper. He was alright, nothing special. I've never watched a movie because Gary Cooper is in it.

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