Gunslingers, Cowpokes, and Outlaws: The Best of the West

[MadMan]

http://www.dinosaurcentral.com/images/wild_west_dinos/The_Old_West.jpg

I'm bored, so here's a new thread. I've decided to compile my Top 20 Westerns, and post commentary about each one. Bear in mind that if a movie you really love didn't make the list, I:

A) Haven't seen yet
B) It wasn't good enough to make the list. So hah!
C) Never heard of it, man.

We'll start off going backwards, and in doing so reviewing one that's highly underrated.

[MadMan]

20. High Plains Drifter (1973, Eastwood)

http://choicecinema.webs.com/HighPlainsDrifter1.jpg

Unlike John Wayne, Clint Eastwood wasn't afraid to play a straight up villain more than once or twice. Even though he was always the protagonist and the main character, Eastwood's characters were men who didn't typical do the right thing, and were more accurate in terms of the people who populated the west in general.

With High Plains Drifter, Eastwood crafted a dark, at times rather bleak, and nasty movie that is highly unromantic and perverts the western mythology that Peckinpah, Leone, and Ford bought into and presented on screen. This is fascinating since the movie does not have a single likable character at all, giving us people who are either cowards, ruthless gunslingers, murders, or general scum of the earth.

What truly stands out for me here is the painting of the town red, with Eastwood's nameless brutal avenger accurately renaming the town "Hell." Which is a rather unsubtle statement, and a commentary on the bloody nature of the west before it was actually settled. Eastwood does not flinch from showing brutal violence on screen, or even giving us a satisfying ending: by the final shot, the only one who has achieved their goal and aim has been Eastwood himself. The town is left in shambles, and even though peace has been restored it is a shaky, unassured calm that promises nothing good for the future.

[Sven]

Cool. I'm reading.

[MadMan]

Well that's one poster. So I'll continue :lol:

19. Ride the High Country (1962, Peckinpah)

http://theflickcast.com/wp-content/uploads//ride-the-high-country.jpg

This is the only Randolph Scott movie I've ever seen, and it actually makes me want to see more of his movies. He has a remarkable and notable screen presence, one that calls attention to himself but is also a tad dignified. I can't completely explain it-just watch this movie and witness him and Joel McCrea expertly play off of each other. Its wonderful, and their performances drive this grand western, which exists as a bridge between the old school Ford/Hawks westerns and the Leone/later Peckinpah/Eastwood westerns that would come to redefine the genre.

Despite the fact that it drags a tad in the middle, its that section that causes much of the tension in the rest of the film, and leads the heroes to a seemingly impossible situation. Torn between loyalty and duty to his partner and a desire to improve his standing, one of the main characters (I won't say which one) changes drastically from being "One of the good guys" to being a heavy, and then back again. Out of the few Peckinpah westerns (read: three) that I have viewed, this one probably features his most straight forward, less complex characters, however. This isn't a knock on the movie, because what transpires still makes for great drama.

When one discusses classic gunfights, the one in this movie strangely gets overlooked. Not only is it a climatic scene, but it also is tense, not flashy at all, and displays violence as being quick and merciless towards everyone. The gravity of what happens comes into focus, and the movie achieves a sad sense of grander. No wonder Scott quit after this movie wrapped; its cliche to note this, but I cannot blame him for doing so.

[MadMan]

18. Dances With Wolves (1990, Costner)

http://www.filmcritic.com/features/assets_c/2010/05/Dances-With-Wolves-thumb-560xauto-30221.jpg

Yes I am a huge Kevin Costner fan, and this is one of my favorites out of all his movies. Say what you will about this not deserving to win best picture, it is indeed a well made and engaging picture, one that does not drag at all or wander despite its immense running time. Never minds its admirable take on the American Indian, it exists also as one man's journey from being lost to finding his own place, even if it is in a world different from him his. Costner's army man willingly departs from being a white man and changes cultures because he recognizes his own people are lacking in not just body, but also in spirit and soul. Plus it features one hell of a soundtrack-John Barry's work on this is quite strong, and the magnificent, soaring orchestra cords better state what the characters are thinking than words possibly could.

When it comes to westerns, the American Indian has been served up as a cannon fodder, and serve as reliable bad guys. Even though other westerns exist on this list that do just that, I acknowledge that they were created in a time and place where that was acceptable, even if they were wrong to do so. I view Costner's effort in the context of trying to do the opposite, although I don't think he necessarily romanticizes the Native Americans, either. He shows them committing both good and bad actions, although he does paint the white man as crude bastards privy to engaging in acts of senseless violence and having a severe lack of appreciation for nature and man's place in the world.

Aside from those rather obvious sentiments, this movie sports some amazing set pieces, such as the suspenseful and exhilarating buffalo hunt, an enemy tribe's attack on the Sioux camp, and the savage massacre of an entire army squad. What this movie sets forth is something different from some of the others on this list in that you have a deep character study but also an examination of an entire culture, now long gone but having left behind an unforgettable imprint upon the now settled American West.

[MacGuffin]

I'll definitely be watching also, even if I don't have anything to say.

[baby doll]

The following films better be on your list: Dead Man, Johnny Guitar, McCabe & Mrs. Miller, Rancho Notorious, Rio Bravo, The Searchers. I will not tolerate anyone having different tastes than mine.

[Sven]

The gravity of what happens comes into focus, and the movie achieves a sad sense of grander. No wonder Scott quit after this movie wrapped; its cliche to note this, but I cannot blame him for doing so.

Yes, the climactic scene here is one of the best in cinema. Too low, but repped anyway.

Edit: whoops, repped wrong film! Haha.

[soitgoes...]

The following films better be on your list: Dead Man, Johnny Guitar, McCabe & Mrs. Miller, Rancho Notorious, Rio Bravo, The Searchers. I will not tolerate anyone having different tastes than mine.
With the exception of Rancho Notorious I actually kinda agree with you. Weird.

I'm not sure if they're top 20 material, but they're all good enough where I wouldn't question their existence on such a list.

[B-side]

I'll definitely be watching also, even if I don't have anything to say.

This.

[MadMan]

Yes, the climactic scene here is one of the best in cinema. Too low, but repped anyway.

Edit: whoops, repped wrong film! Haha.I will gladly accept further rep for the correct post :P


The following films better be on your list: Dead Man, Johnny Guitar, McCabe & Mrs. Miller, Rancho Notorious, Rio Bravo, The Searchers. I will not tolerate anyone having different tastes than mine.I've never heard of Racho Notorious. As for the rest, well, you'll have to wait and see ;)


I'll definitely be watching also, even if I don't have anything to say.

This.

Hey that counts for something :)

[kuehnepips]

The Man Who Shot Liberty Valance better be #1 or you're a mad man.

[baby doll]

The Man Who Shot Liberty Valance better be #1 or you're a mad man.Can I be Christine Hendricks?

[Dukefrukem]

I suck at westerns... I think I've seen like... 5.

[Ezee E]

Good start. Hoping for something I haven't come across. Need to see the Peckinpah to complete his filmography.

[kopello]

My personal favorites are Assassination of Jesse James, McCabe and Mrs. Miller, and Unforgiven. Most traditional westerns kinda bore me though so I don't consider the genre one of my favorites, but maybe you'll give me some good recs in this thread.

[Scar]

Subscribed.

[number8]

Yeah! I'll throw in my own favorite and threaten you to include it too! My Darling Clementine!

[D_Davis]

Cool. Love westerns, especially of the Italian variety.

Have you seen Sukiyaki Western Django, yet? Really cool mix of East and West.

What about Red Sun, with Toshiro Mifune and Charles Bronson?

Or The Master Gunfighter?

More cool Eastern/Westerns - Have Sword, Will Travel, and My Name is Shanghai Joe.

[Kurosawa Fan]

Love High Plains Drifter. Heck of a start to your list.

[Scar]

Paint Your Wagon?

[D_Davis]

Yeah, HPD is a great film.

[Dead & Messed Up]

Hope to see Winchester '73.

[MadMan]

Hope to see Winchester '73.Ooof, it unfortunately misses the cut. Good western, though.


Paint Your Wagon?:|


Cool. Love westerns, especially of the Italian variety.

Have you seen Sukiyaki Western Django, yet? Really cool mix of East and West.

What about Red Sun, with Toshiro Mifune and Charles Bronson?

Or The Master Gunfighter?

More cool Eastern/Westerns - Have Sword, Will Travel, and My Name is Shanghai Joe.I've heard of Sukiyaki and Master Gunfighter. I'll admit that foreign westerns are lacking on this list. I'll have to check those out-thanks for the recs.


Yeah! I'll throw in my own favorite and threaten you to include it too! My Darling Clementine!Uh....sure.....*shi fty*


My personal favorites are Assassination of Jesse James, McCabe and Mrs. Miller, and Unforgiven. Most traditional westerns kinda bore me though so I don't consider the genre one of my favorites, but maybe you'll give me some good recs in this thread.I love both traditional and non-traditional westerns. Each will be included on the list.


Good start. Hoping for something I haven't come across. Need to see the Peckinpah to complete his filmography.I got tired of waiting to finish his westerns, and just went full speed ahead. I can always present an updated list in the future.


I suck at westerns... I think I've seen like... 5.See more!

[number8]

*disapproving look*

[MadMan]

:lol: I'll see eventually! Honest!

Anyways....

17. For a Few Dollars More (1964, Leone)

http://www.slashfilm.com/wp/wp-content/images/fewmoreposter.jpg

What everyone forgets is that Leone really came into his own with his second western, displaying his ability to create characters that existed in a world of gray, who were overly violent and usually quite desperate. Its also the movie that features my favorite Lee Van Cleef role, Col. Mortimer, a man seeking revenge carefully while dealing with Clint Eastwood's Man With No Name, a fellow as equally good with a gun as Mortimer is, hunting the same group of outlaws that Mortimer wishes to defeat, not just for the reward but for something that happened in his past. The movie is careful never to reveal what transpired between Mortimer and El Indio, save for a handful of flashbacks and a watch that plays an ever so gentle melody, a tune that both men are very much familiar with. I think its interesting how unlike the other two movies in the Man WIth No Name trilogy, this one focuses on him the less-Mortimer is the central player here instead.

Unlike his first western, A Fistful of Dollars, which was practically a shot for shot remake of Yojimbo, Leone wisely created his own movie this time around, using much of the same actors from the first movie while adding in Cleef and Klaus Kinski as a hunchbacked psychotic who duels Mortimer, calling him "The Smoker." A criticism of Leone's work could be that at times nothing seems to happen, and yet during these moments either tension is built up, or people's motivations become more clear. I recall reading something that Leone is a master of making scenes that stretches of greatness, even if they may not fit into the overall narrative or nothing really happens, per say. I can agree with that, even though I think that every shot of his movies has meaning and purpose, even if that purpose becomes unclear.

My only problem with this movie is that not much else can really be said about it. Like many westerns, the narrative and story isn't particularly deep, and the characters are rather simplistic, although that's not always a bad thing. Someone over on MovieJustice.com actually argued that the climatic gunfight in this movie was better than the more highly regarded one in The Good, the Bad, and the Ugly. I'm not sure I can agree, although that argument has some merit-the showdown is much shorter, and far tightly paced. Alas, the Morricone score backing it up doesn't hold a candle to "The Trio."

[MacGuffin]

Well, it is a fact that McCabe and Mrs. Miller is the best Western. That's objective.

[Grouchy]

I don't think a list of great westerns should include stuff like Dead Man or even McCabe and Mrs. Miller. The latter one is great, sure, but too many classic examples of the genre exist to occupy slots with stuff that plays with the genre conventions "from the outside".

My Darling Clementine, for example, is great and is often very overlooked. And MacGuffin, nah, that's not a fact. Rio Bravo, maybe.

[MadMan]

Well I haven't seen McCabe and Mrs. Miller.....*Runs*

[Ezee E]

Outside of a masterful showdown with the watchtone in For A Few Dollars More, I can't remember much abiout that one.

[MadMan]

Outside of a masterful showdown with the watchtone in For A Few Dollars More, I can't remember much abiout that one.The gunfight between Klaus and Cleef? The opener where Cleef busts out the special rifle/pistol and shoots a guy right between the eyes? Or Clint and Cleef having a dick measuring contest by shooting off each others' hats? Plus the entire last act, which is full of shooting and violence? Among other moments not mentioned.

[megladon8]

Very cool, MadMan.

Nice to see High Plains Drifter get some love. It's very different, and all the better for it.

I echo the sentiment that Winchester '73 would be awesome to see here.

Also the underseen, underrated Kevin Costner film Open Range.

[Raiders]

I don't think a list of great westerns should include stuff like Dead Man or even McCabe and Mrs. Miller. The latter one is great, sure, but too many classic examples of the genre exist to occupy slots with stuff that plays with the genre conventions "from the outside".

So the qualification should be what... strict adherence to a set of conventions? Seems kind of boring to me.

[MadMan]

I love Winchester '73, but as I mentioned previously it barely misses the cut. Jimmy Stewart sure made some fine westerns, though. I miss the old days when major actors starred in westerns. The genre is about dead, but hey we get at least one western every once in a while.

Open Range also falls short of the list, although it and Winchester '73 would crack My Top 30 or Top 50 Westerns List. Which if I keep watching 'em, I'll eventually be able to make. Its another favorite western of mine, and that shootout featuring Duvell and Costner against overwhelming odds is one of the most badass gunfight sequences in recent memory.

[Scar]

Also the underseen, underrated Kevin Costner film Open Range.

Featuring one of the best damn gunfights in cinema. Definitely one of the best opening shots to a gunfight.

[MadMan]

Featuring one of the best damn gunfights in cinema. Definitely one of the best opening shots to a gunfight."You the one who killed our friend?" "That's right." *Blows his head off* Looking back, Charley Waite is easily one of Costner's best performances. Especially since it goes against his usual typecasting.

[megladon8]

Featuring one of the best damn gunfights in cinema. Definitely one of the best opening shots to a gunfight.


Straight up, homes. One of the best.

[Spinal]

Even without My Darling Clementine, which is indeed excellent, I like this thread. Keep up the good work.

[Kurosawa Fan]

Open Range was dull, dull, dull.

[Ezee E]

Open Range was dull, dull, dull.
Agreed, but that last gunfight makes it a good one still.

[Grouchy]

So the qualification should be what... strict adherence to a set of conventions? Seems kind of boring to me.
No. Seems fair to me.

[megladon8]

Open Range was dull, dull, dull.


You're dull.

[lovejuice]

love open range too.

[MadMan]

I've been busy the past week or so, but I'll try and hash out another couple of reviews this weekend and post 'em.

[transmogrifier]

Open Range was dull, dull, dull.

Yes. It has a horribly formulaic screenplay and dreadful dialogue. I'm always surprised to hear people actually like and respect it.

[number8]

I do not like the movie, but that gunfight was pretty cool.

[Qrazy]

People should watch Hombre starring Paul Newman and directed by Martin Ritt.

[MadMan]

Wow, it sure has been a while. Maybe I should try and finish this one. Nah :P

16. Rio Bravo (Hawks, 1959)

http://www.movie-film-review.com/files/images/filmimages/rio_bravo460.jpg

Just a fair warning, folks: this list is probably going to be John Wayne and Clint Eastwood heavy, to a degree. However this is also due to the fact that both actors worked with some truly great directors. Wayne worked with Hawks a couple of times, the other one that I know of (and have seen) being the lesser El Dorado, which is really a loose remake of this movie. John Carpenter also loosely remade this film with his excellent and underrated Assault on Precinct 13, which came out two decades later. So this movie has a rather broad based appeal, despite the fact that its a simple, straightforward western. Hawks, best known for creating screwball comedies with Carry Grant, stepped out of his comfort zone to make a machoistic picture that also displays what any fan of The Thing From Another World knows: that Hawks was actually good at creating scenes of raw, engaging tension.

Despite its rather simplistic core, the movie is expertly paced and really well made. Wayne, Dean Martin, Walter Brennan, and Ricky Nelson all have an easy going, notable chemistry that is quite important to the movie's success. Without their ability to act off each other quite well, there is no way this movie would have worked at all. The gunfight scenes are entertaining of course, but what I loved most about Hawks is how good he is at directing a well written script here that has some great dialogue, and he even manages to work in some witty banter. When discussing the movie, I don't think that the movie's screenplay, which is fantastic, is covered well enough, and I would say that this is one of the best scripts The Duke ever got to work with.

A final note on this movie is that Angie Dickinson is a wonderful actress who throughout the movie displays a good rapport with Wayne's character. I haven't actually examined how westerns treat women, and too many of them fail to even feature strong women characters, but perhaps because Hawks was involved (he after all worked with Katherine Hepburn) in this movie, he made sure to not make an entirely male oriented movie. For which I'm thankful, considering how easy Dickinson is on the eyes, not to mention her character gives the movie a rather funny and charming ending.

[Qrazy]

So did anyone watch Hombre?

[soitgoes...]

So did anyone watch Hombre?
I did, like 5 years ago. I'm not a big fan.

[Qrazy]

I did, like 5 years ago. I'm not a big fan.

The last act is quality.

[megladon8]

Time Out London's list of the 50 Greatest Westerns. (http://www.timeout.com/london/the-50-greatest-westerns/)

[MadMan]

Time Out London's list of the 50 Greatest Westerns. (http://www.timeout.com/london/the-50-greatest-westerns/)I've seen 22 of those, and many of them make my list. However I consider Blazing Saddles to be a comedy, not a western, and Shane was way too high on the list, although its a good one. I aim to watch the ones that I didn't see, and maybe some of them might stand a chance of being on an updated list in the future. Thanks for posting that, meg.

PS: Sorry Qrazy, I have not watched Hombre. Eventually, though ;)

[Yxklyx]

I've seen 22 of those, and many of them make my list. However I consider Blazing Saddles to be a comedy, not a western, and Shane was way too high on the list, although its a good one. I aim to watch the ones that I didn't see, and maybe some of them might stand a chance of being on an updated list in the future. Thanks for posting that, meg.


Yeah, I like that list a lot. Some I haven't even heard of.

[megladon8]

More people need to watch Winchester '73.

[MadMan]

More people need to watch Winchester '73.Yes sir. It doesn't crack my list (which at the rate I'm going I'll never finish anyways :P) but its a damn fine western. In some ways its a film noir, even. Jimmy Stewart was in tons of westerns during his career. The only other Anthony Mann western I've viewed is the also really good The Man From Larmie.

[MadMan]

I figured that for my 10,000th post a write up covering one of my all time favorite westerns would be appropriate.

15. The Outlaw Josey Wales (Eastwood, 1976)

http://thisdistractedglobe.com/wp-content/uploads/2010/05/Outlaw-Josey-Wales-1976-Clint-Eastwood-Chief-Dan-George-pic-51.jpg

One of the notable things about Clint Eastwood was that in several of his westerns, he played a Confederate soldier. I have not seen the other movie featuring him as such, but this one I have viewed, and the movie's opening moments make it clear why he ends up joining up with what turns out to be the losing side. Considering his libertarian views over the years, it wouldn't surprise me if Eastwood is a strict defender of the idea of states rights, which was indeed one of the reasons why the South secede from the Union in the first place. But this movie is really more about revenge, not a massive four year conflict that tore apart an entire country and was the worst in our nation's history.

Although I will admit that even when focusing on such a narrow and simple motivating factor such as revenge, Eastwood never leaves the Civil War's politics behind. Namely because the Northern soldiers responsible for his behavior are in hot pursuit, but also because Wales ends up forming his own nation, something that I find to be one of the movie's most interesting and wonderful aspects. Joining up first with Lone Watie, played in magnificent and stoic fashion by Chief Dan George, and then later rescuing a party of settlers from certain death and in the case of one Laura Lee (Sondra Locke), something far worse, Wales begins to experience a rather obvious change in his character.

That arc is satisfying, as is the mystical style journey through the American Southwest. Wales encounters numerous characters, many who are standard cliches in the general but who also are so due to the fact that people like them populated the area before, during, and after the Civil War to begin with. One of my favorite scenes is Wales telling a bounty hunter after him that "Dyin' ain't much of a livin', boy," shortly before being forced to shoot him. Namely due to the fact that its a great one-liner, sure, but also because it gives us insight into Wales' character.

Aside from the rather badass and natural conclusion (the movie couldn't have really ended any other way,) I love this western because it does what many do not: offer a realistic display of the American Indian. Chief Dan George doesn't play a typical stereotype, and really his character perhaps inspired Nobody in the modern western "Dead Man."

Note: Don't read this if you haven't seen Shane or The Outlaw Josey Wales
Never mind that though, the movie manages to conclude with a finale that is bloody, violent, and has a finale scene that would be familiar to anyone who's viewed a certain 1953 Alan Ladd western that doesn't make the list, but is still quite good. Funny that not only does Eastwood best that movie's finale, but also later remade "Shane" with his lesser 1985 western "Pale Rider." The line "I reckon so. I guess we all died a little in that damn war. " never rang so true.

[Russ]

Considering his libertarian views over the years, it wouldn't surprise me if Eastwood is a strict defender of the idea of states rights, which was indeed one of the reasons why the South succeeded from the Union in the first place.
And indeed, it was that very success that also prompted the South to secede from the Union, too. ;)

[MadMan]

And indeed, it was that very success that also prompted the South to secede from the Union, too. ;)This is why I need someone to be my personal editor :lol:

[Dukefrukem]

I watched Once Upon a TIme in the West this weekend for the first time. It is masterful and I think ti's making my top 10 of all time. The music struck me- I don't even know how to describe it. The Man with the Harmonica - I did a search on Youtube to hear it again... and now I'm obsessed with this.

pGKteYJm-Uo

[MadMan]

That's a pretty fantastic western, of course, Duke. Back when I was a sophomore in high school, I went looking for a copy of OUATITW. My local Mr. Movies (now since closed) had a copy that was checked out, so being impatient I went to my local Best Buy and discovered the SE two disc was only $10.00. I figured that since that wasn't a bad price even if the movie sucked (and that I could sell it anyways if I didn't like it), I made a blind buy purchase. Watched it on New Year's Eve since I had no parties to go to, and was blown away by how amazing it was-up to that point I had already viewed Leone's Dollars trilogy, but I didn't know he had another great movie waiting for me to discover.

Tonight there will be updates. I've neglected this thread too long.

[MadMan]

14. Major Dundee (Peckinpah, 1965)

http://www.dvdtalk.com/dvdsavant/images/1535dun.jpg

One could argue that this is as much a war film as it is a western, and I wouldn't necessarily disagree. However I consider this film to be a member of the genre, and I'm thankful that despite the studio's efforts in the 1960s which resulted in the film being butchered that TCM showed the restored copy a couple years ago, which is also available on DVD and probably Blu Ray as well. Featuring an excellent cast ranging from Charlton Heston, Richard Harris to Peckinpah regulars Ben Johnson, James Corburn, L.Q. Jones and Warren Oates, this movie fits in well with what else I've seen from Peckinpah (which isn't much, sadly).

Namely the ideals of loyalty, honor, in addition to discipline here. Despite the fact that Heston's Dundee is at times rash and foolish, he has courage and never wavers from his duty. Harris proves to be a fine rival and former friend, and their fight scene is one of the highlights of the film simply because its rugged, violent, and properly represents their harsh relationship by the film's middle. The concept of a bunch of Confederates and Union soldiers fighting their own private war in Mexico against the Native Americans and the French can be mirrored in The Wild Bunch and even to a lesser extent in Ride The High Country. After all, both films conclude with people forced to not only fight the elements, but also wrestle with enemies that appear due to circumstances perhaps beyond their control, in a way.

Having revisited this film a second time last year, I also marveled at how magnificent this entire movie is. Peckinpah does not glorify war, even though he does present his characters as brave men with their backs against the wall in a unique situation. Considering that my last entry was also a western featuring the Civil War in some fashion, it should be somewhat unsurprising since that terrible conflict helped shape the west.

[MadMan]

13. Dead Man (Jarmusch, 1995)

http://3.bp.blogspot.com/_nE0S8RkkHEU/TA6sKrGoBzI/AAAAAAAAALg/prmavPgmkf8/s1600/dead-man_7.jpg

Curiously enough this is the first movie I ever saw from Jim Jarmusch, who struck me as a rather interesting filmmaker. This is defiantly not your typical western, especially since Jarmusch in clever fashion has Johnny Depp playing a man who goes from an accountant to a gunslinger and killer. That was something I did not expect to happen eventually in the film, particularly since this is a rather stark, lyrical, and almost poetic film. By the 1990s the genre was on its last limbs, so Jarmusch along with Clint Eastwood gave us two amazing films that at least breathed some fresh life into the western, even though nowadays we are lucky to get one a year.

Also I would like to thank Roger Ebert for bashing this movie, since his review was why I watched it in the first place. Either he did not get the film and thus was negative as a result, or he found the movie's mystical implications wanting. Regardless, that doesn't matter because I honestly have no idea what really the movie is supposed to be saying, and perhaps that is the point. Such puzzling attributes do not matter honestly when you are watching a film as captivating as this one, and I loved Neil Young's simplistic and rough guitar infused score, which only highlights the oddity of this entire movie.

Extra points go to this film for featuring a Native American its main cast, as Nobody acts as a taunter of Blake ("Stupid fucking white man,") a quoter of the actual William Blake's poetry, and the accountant Blake's guide into another realm. This brings me to another point, which is that I am willing to consider that when he gets shot the first time Blake actually dies, and therefore the rest of the movie is his last thoughts before he finally goes to the afterlife. Yet I wish to reject that theory because in a way it cheapens what occurs, plus I prefer to speculate that Blake is seeking enlightenment without even realizing that he is doing so.

Oh and this movie is one of the few westerns, if maybe the only western, on this list that has any kind of bleak/dark humor. The fact that Blake ends up forsaking his past life and embracing his mission as a bringer of death actually warrants an essay, and maybe I will finally view this film again on Instant Viewing. Jarmusch's sharp ability to blind western standard cliches with his own mythical view of the west is remarkable, and I really wish he would have made one more western, although considering how he works that is probably unlikely.

[MadMan]

Clearly I'm not pulling in the viewers since I left this thread for dead. Maybe I need to find a porno western to review? :P :lol:

12. The Assassination of Jessie James by the Coward Robert Ford (Dominik, 2007)

http://graphics8.nytimes.com/images/2007/09/20/arts/21assa-600.jpg

Man what a title, huh? Defiantly could have been longer, much longer in fact, and really the film also has a considerable length, too. Even though some of the movie drags a little bit, that doesn't matter because this is a well directed, expertly crafted film with excellent cinematography thanks to the legendary Roger Deakins, and a truly remarkable cast. Placing Brad Pitt in the role of Jessie James was smart, and he properly embodies the man himself, or at least playing the role based on what we even know about the famous outlaw. Thus, him and Casey Affleck, who plays Robert Ford, have a truly fascinating dynamic that powers most of the movie itself. Powered by a simple, yet elegant score from the one, the only Nick Cave, aided by Warren Ellis.

Opening with a truly stunning outdoor shot, Andrew Domink's second feature film is largely hauntingly poetic while also being a mediation on the highs and lows of celebrity, of being famous. Jessie James at the time of his robberies was built up into myth and legend by numerous writers and reporters, who turn him from a man into some sort of demigod. Thus, when Robert Ford and his brother join up with James' gang, they do so more that they can say that they actually rode with the famous James gang, that they were a part of history. Sure there is also easy money to consider, and yet the entire experience quickly becomes a rather violent affair that leads to pure disillusionment with their new situation.

Compared to previous interpretations of Jessie James, Pitt's is rather unique. James is clearly not a good person, and in fact Pitt gives him a touch of strong eccentricity in two key scenes. One being a shot of James balancing a large snake on his arm, glancing down to admire the serpent instead of being alarmed by its presence. The other a scene where James brashly humiliates and humbles Robert, blowing smoke rings from his cigar, perched on his own chair, knowing that Ford is nothing like him. The film does not take a firm stance on James because that is really not important here, yet even Domink cannot resist engaging in a bit of mythical framing: one of the film's best moments is James walking by a train, the smoke and the nighttime strangely illuminating his person. He is not a demon, nay for he is a man, a person firmly convinced of his place in history.

Even though parts of the third act pale in comparison to the rest of the movie, the last act is truly important. Ford commits his crime, and only realizes too late that being someone turns out to be vastly overrated. The public paints him as a villain, a traitor and of course a coward, leaving him to face an eternity of loneliness. Funny how this film actually uses its final moments to almost give the audience cause to be sympathetic towards a person who murdered someone in cold blood. The truth is not also not black and white, and history is usually written in lies, half-truths, and white washed portraits of people. The story of Jessie James and Robert Ford, according to Andrew Domink, gives some added weight to this opinion.

[MadMan]

Maybe I should do shorter write ups for these entries. Nah.

11. The Shootist (Siegel, 1976)

http://img40.imageshack.us/img40/5008/shootist.jpg

Perhaps this selection is heavily influenced not only by my John Wayne (and to a lesser extent, Don Siegel) bias, or the fact that this was John Wayne's last movie. However, I feel this pick is rather justified due to being an expertly crafted western, despite its rather simplistic style and pacing. The opening sequence is an excellently put together montage of famous Wayne moments from his previous films, further underlining that The Shootist was Wayne's last picture, his own way of riding off into the sunset, so to speak. Other movies have focused on the artist knowing that he is dying, and thus creating a film that reflects this. Having Wayne play a gunfighter dying of cancer while he was in fact dying of cancer only makes this movie even more emotional than it already was.

Featuring a cameo by Jimmy Stewart (who had appeared with John Wayne in the classic western The Man Who Shot Liberty Valance) and Richard Boone and Scatman Crothers in smaller roles, this film sports a rather talented cast. Ron Howard and Lauren Bacall co-star along with Harry Morgan, and how they react to one J.B. Books' eventual passing and interact with him throughout the film differs greatly. Morgan's modern day marshal has no bones about wishing that Brooks shuffle off his mortal coil, and this is a feeling shared by others. Bacall's Bond at first despises him while slowly warming up to him, while her son Gillom, played by Howard, idolizes the man even though its clear that Brooks doesn't want to be seen as a hero, either.

Sure the trouble gunman who heads into one final fight after realizing he won't be left alone to die in peace isn't exactly the most revolutionary plot in western lore. Yet the film's last act is remarkable for how tightly wound and slowly paced it is. The violence that occurs happens rather suddenly and very quickly, and the film's conclusion is marked by a sense of finality. The movie is as much about the people that Brooks impacted as it is about his final days, when a man realized that the west had already passed on before he even got a chance to.

[MadMan]

Hey I've finally reached the Top 10. About time....

10. The Professionals (1966, Brooks)

http://www.emersonkent.com/images/the_professionals_1966.jpg

Just looking at this movie makes me flash back to the day when I first saw it on a DVD rack at Target. I had never heard of The Professionals, which surprised me because I thought I was fairly knowledgeable when it comes to the genre. My parents gave me that same copy for my birthday (I believe it was my 21st or 22nd, I can't even remember) and once again my fine instincts for sniffing out blind buys proved correct. If anything, I underestimated how great this movie would be, although I really shouldn't have due to the film's cast, and the fact that the cinematographer/director of photography was none other than the legendary Conrad Hall. This film's principle leads are famous actors Lee Marvin and Burt Lancaster, two actors who were no strangers to the western genre. If anything, the pair of them made numerous western movies throughout their career.

Backing them up are a couple of other actors who had been in plenty of westerns: Robert Ryan (who is still underrated to this day) and Woody Strode, with the rest of the supporting cast rounded out by none other than Jack Palance and the gorgeous Claudia Cardinale. It is Claudia Cardinale's character, Maria Grant, who the main gang have been hired to find and bring back from Mexico. The man hiring them is Mr. Grant, a rich Texan who is clearly hiding something, a fact that the group only unfortunately discovers a bit too late. Shot expertly by Hall, the film perfectly captures the harsh beauty and dangers of the rugged desert landscape, which only add to the film's gritty feel. Not to mention the fact that the movie features plenty of action and suspense, with one scene that one has to see to believe simply because it was near impossible to pull off: a dangerous dash through a canyon before sticks of dynamite go off, closing off the exit.

Due to the film's cast and also its title, The Professionals is one of those westerns with truly strong themes. The ideal of a "Professional"-a man who does his job right, and to the best of his ability with honor and dignity-rings incredibly true with not only the gang, but also with the bandit Jesus (Palance) that they are facing off against. The film even manages to cover the concept of lost causes, as a scene where Jesus and Lancaster's Bill mediate about man's need to not only chase after women, but also pursue courses of action that typically become ill-advised or are doomed to fail. These qualities make The Professionals a first rate western adventure, and elevate the film above lesser westerns that lack something interesting to discuss.

[MadMan]

http://thezaratefamily.files.wordpres s.com/2010/07/tumbleweeds.jpg

:P :lol:

[MadMan]

9. Stagecoach (1939, Ford)

http://www.filmdetail.com/wp-content/uploads/2012/03/Stagecoach.jpg

Going back in time to my younger days, I remember the first time I watched Stagecoach. It was on on my local cable channel, sent out from my local community college, and so the copy wasn't of the best quality. Yet I could tell that this was a really special film, a truly epic and sprawling western classic that truly broke the mold for the genre. Before John Ford made John Wayne a star, the western was decently respected (Cimarron winning best picture in 1931, for example) yet Ford deciding to film not only on a sound stage but instead in the gorgeous Monument Valley, which became one of the most famous places on earth thanks to Ford and then others later on filming there.

Really the movie isn't particularly complex or deep: a group of people go through Indian country in, well, a stagecoach, and they encounter numerous dangers along the way. The reason this film is so high on my list is due to Ford's excellent direction, coupled with Wayne's great performance: The Ringo Kid's introduction is one of the most well known and famous opening shots of a character in cinema history. Despite being an outlaw, Ringo is generally a tough guy with a heart of gold, and Wayne and Ford realized that this was truly the start of a fantastic partnership that would last for decades. Without Stagecoach, the genre as it stands today would be insanely different in ways I'm not even sure I can fathom.

Of course this movie features a tense final showdown and shootout, and I do concede that the the movie is a tad racist towards Native Americans. Yet despite agreeing with this sad facet of old school westerns, I don't think it ruins the quality of Stagecoach overall. A movie this essential to the genre should be admired despite some of its questionable qualities, and if you think that I'm done with Ford or westerns with racism involved, well, tune in for the rest of this list and find out. One modern day entry actually is quite racist, although in its case there are valid reasons why that movie has such attributes. Some things never change, I guess.

[MadMan]

8. The Man Who Shot Liberty Valance (1962, Ford)

http://theseventhart.files.wordpress. com/2010/06/the-man-who-shot-liberty-valance.jpg

Myth and legend are often interchangeable, and the truth is usually blurred. This is true of many Hollywood biopics, and yet this can be applied to a fictionalized account of how one man's position in life has resulted from him having done something another man did, taking the credit and becoming famous as a result. The Man Who Shot Liberty Valance is a fascinating and excellent western largely because it goes beyond simple western conventions, although granted John Ford's superior direction and the excellent performances from its talented cast are what also put it so high on this list. Sadly Jimmy Stewart and John Wayne did not act in more westerns than they did, as they were a natural pair in the genre and they had a good rapport with one another.

The third wheel in Ford's tense and dramatic film is Liberty Valance himself, a vile and sinister murderous gunfighter portrayed by Lee Marvin, who John Wayne also acted with a couple of films. Stewart's hapless lawyer keeps having unfortunate run ins with the crude Valance, only to be bailed out each time by Wayne's Tom, a local rancher and cowboy who has no feel of Valance, even as him and Ransom, Stewart's character, are rivals for the affections of a lovely school teacher.

The fact that what occurs as a result of all these interlocking stories is interesting primarily due to the myth and the lie, linked together. Not too many western films actually mediate upon mixing fact and fiction, so its remarkable that a fictional western instead of one reportedly "telling" the truth while either omitting key details or mixing fact with half truths actually discusses that very issue. Making people larger than life occurred all of the time in the Old West, as gunfighters kill totals were inflated, and their exploits became truly larger than life.

"This is the West, sir. When the legend becomes fact, print the legend". A final line that properly sums up The Man Who Shot Liberty Valance. From what I've seen, John Ford was rather apt at showcasing that line in his movies, many of which were mythical exaggerations of a real period in time. Oh and I have to say that is another reason why this list contains so many films from him, in addition to them all being classics and staples of the genre as well.

PS: Look for Woody Strode and Lee Van Cleef in this film, both who appeared in numerous westerns.

[Derek]

Great pick, one of my favorite of Ford's. Also nice to see The Shootist land that high. Keep up the good work...and maybe speed up the process a bit while you're at it. ;)

[MadMan]

Great pick, one of my favorite of Ford's. Also nice to see The Shootist land that high. Keep up the good work...and maybe speed up the process a bit while you're at it. ;)Thanks. And I'll admit that The Shootist was on this list partly because of my deep love of Wayne, but a second viewing of the film made me realize how great it really is. Plus that gunfight at the end is tops.

And um yes, I'll try and not have huge gaps in between. My next choice is going to be fun, and here it is (figure I should get this done sooner rather than later):


7. High Noon (1952, Zinnemann.)

http://www.oscars.org/awards/academyawards/legacy/images/info/25/1953_iconic_high_noon.jpg

A while back, Brightside admired this movie but was not able to do so without mentioning the film's politics (at least I recall him doing so-my memory is a bit fuzzy). To this I replied by noting that I didn't particularly care about the film's more controversial aspects (well they were controversial at the time of its release) and that I was fine with simply admiring the movie as a piece of fine craftsmanship. High Noon is remarkable largely for being film in "Real Time" as opposed to simply "Reel Time," but only focusing on the gimmick demeans this classic film and makes you miss what makes it one of the best that the western genre has to offer.

Steely eyed Gary Cooper plays an aging sheriff who has just married the super gorgeous Grace Kelly, and is planning to leave town. The problem is that the local gang leader he managed to put away is getting out of prison, and the rest of his gang and him are heading back to rule the town like they did in the old days before Cooper's heroically stopped them. Naturally the rest of the story is cliche now, and was perhaps even a bit cliche back then: the lone sheriff, forced to defend his town against an evil gang without the help of anyone. People he thought he could rely on turn coward and run, leaving poor Cooper to battle the villains himself.

Okay so I will somewhat address the politics of the film, made even more notable by the stance of the film's star, Cooper, who was a conservative. Zimmerman was reportedly making the film to support people who refused to testify during the HUAC hearings, a dark time in this nation's history. I can understand those who argue that this film has more in common with the informer apology film On The Waterfront, which was released two years later, but I cannot say I agree. However I also read this movie as examining what drives a man who can just leave with his really pretty bride and leave the hapless townspeople to deal with the mess.

Sure he would feel weak and cowardly, and yet I have to ask what getting killed defending a bunch of folks who can't even come to your aid accomplishes. In dying, the sheriff would leave his wife a widow, and she would either be killed or raped by the gang if she wasn't able to escape town, or would be forced to live elsewhere in poverty. This aspect of the movie is the most interesting driving force, posing a discussion question that has no real clear answers. While the ending may be easy to figure out, the final result doesn't justify Cooper's actions, at least in my opinion. Perhaps this is why I am not a town sheriff in the Old West, or a hero in real life, I suppose. Making that desperate and uneasy decision is the mark of a person certain in their convictions, be it right or wrong, and I believe that is the true lesson revealed here.

PS: In regards to the ending, however, Cooper tossing his badge into the dirt is one of the most powerful endings of any western I've ever viewed. I love that action, as despite saving the town he still rebukes the people who failed to help him, and in doing so leaves them behind to fight their own battles. So perhaps the finale isn't as heroic as I thought, rather serving as a big "Fuck You" to those unable to come to the aid of those willing to fight other people's battles for them.

PPS: During this entire writeup, Tony Soprano's obsession with Gary Cooper kept ringing through my head. Here's the clip where he mentions Cooper (warning: harsh language):

pb7BIaaxGAU

Which is hilarious, and not the only time that Tony makes references to Gary Cooper.

[MadMan]

6. The Proposition (Hillcoat, 2005)

http://terribleanalogies.com/blog/wp-content/uploads/2010/12/The-Proposition4.jpg

The first time I heard about this bleak, tragic western was via Roger Ebert, who gave the film a favorable review and noted its rather ugly nature, which actually turns out to be the film's strongest attribute. Years later I finally viewed The Proposition, and found out for myself how truly brutal it could be, although I think I'm more disturbed by the fact that the film's violence didn't shock me as much as I thought it would. This does not detract from the film's overall power, however, or the fact that Hillcoat brilliantly displayed the flat and incredibly hot Australian outback, underscored by Nick Cave's lyrical and simplistic score (one that brings to mind Neil Young's minimalist score for Dead Man). Oh yes the countryside isn't just hot, its absolutely scorching. If I go by this movie then the Outback is literally hell on earth, or at least a place that makes hell seem cold by comparison.

Guy Pearce's Charlie Burns is not having a good day. Troopers have captured him and his younger brother, and their Captain, Stanley, played by Ray Winstone (a truly underrated actor I must say) has told Charlie that unless he kills his older brother, Arthur (KF's favorite actor Danny Huston :P) that he will execute his younger brother. This is a truly bad situation, one that pits Charlie against a family member who is no longer simply a man, but who has become a monster who murders and even rapes without provocation or reason. Despite being not similar to other westerns, this film cannot resist showcasing the classic western journey through the hot stinking desert, only in this case you have Nick Cave singing, which makes said journey a bit more interesting than normal.

If one thinks about it, the only two people in this film who are even remotely positive are the dear Captain and his pretty yet sad wife, who are supposed to be the representation of what little good exists in the dark, horrible wilderness populated by hostile natives and awful individuals. Still this does not absolve Stanley of what ends up happening, although he does try to stop his superior from ordering the flogging of the younger Burns boy, a particular scene that was really hard to watch. Such violence is treated not stylishly, and is displayed in truly unflinching fashion, something that too many westerns forget to do properly.

The Proposition also features the aborigines as said hostile natives, thus reflecting the sad fact that even in modern westerns native peoples are used as threats, not fully fleshed out as characters or even shown as people. In this case though Hillcoat uses them to prove a point, in that they are just another barrier to Stanley achieving his quest of civilizing the land, and taming a country that is only populated by a people angry that others have come to take their land and also mostly by convicts and those who were kicked out of England and sent to the continent. Besides the white men in the film are far worse than the hostile natives, as especially showcased by John Hurt's horribly funny, awful and racist bounty hunter Jellen Lamb, a man who might as well be a member of Arthur's gang. He lacks a moral code, hates other whites because they are not as white as he is, and he outlines that Charlie is really no better than him. Selling out your own brother, even for another brother, is a terrible sin.

Raiders mentioned another bleak Australian western, The Tracker, which actually came out three years before The Proposition and is another modern western I really need to see, especially to compare and contrast the two. For now though The Proposition clearly deserves its spot on this list. Unlike many of the others I picked this film willingly puts on display pure evil, the black souls and natures of men who have no limits and act on almost primal instincts. I didn't even dive further into the film's mediation upon abuses of power, simply because that entire subject deserves a lengthy and better written essay than I am willing or able to produce. Regardless, this is an excellent film, one that I also happen to own on DVD and which I have viewed numerous times due to its captivating and rough nature.

PS: This film also has one of my favorite endings to any movie: Charlie finally summons up the courage to kill his brother, finally doing a good deed for once by saving Stanley and his wife. Yet he recognizes what he has just done, and he sits down to view the sunset with his dying brother, who then keels over after they chat for a while. Its a rather haunting, gorgeous final shot that is a tad anti-climatic, which is just fine with me.

Oh and if anyone here is still wondering, entries 1-9 are the only ones on the list to receive 100s. I'll be posting the overall list when I'm finished, which won't be too long from now, hopefully. And hey this was my 14,000th post, so good use of it for a lengthy review that no one will read :lol:

[MadMan]

Warning: minor/possibly major spoilers involved, and I'm too lazy to use the spoiler tag since this thread has gathered one response in the past couple of months :P


5. Unforgiven (1992, Eastwood)

http://cdn.japandailypress.com/wp-content/uploads/2012/08/unforgiven-clint-eastwood1-550x230.jpeg

Created as a homage to both Sergio Leone and Don Siegel, two of Clint Eastwood's mentors, Eastwood's masterful 90s western is widely regarded as one of the last truly magnificent entries in the genre. Although there have been great ones since, as noted in this thread, none of them save for The Proposition come close to being as special as this film really is. There is no cowboys vs. hostile natives here, and there isn't even a shootout in the street, either. Nope, this is crafted as a serious and straightforward western, one that even manages to mediate upon evil committed by those in authority. Naturally though its good old fashioned greed and stupidity that results in brutal actions and nasty consequences.

Once a murderous outlaw and thief, William Munny has since settled down as a farmer, raising the kids that his late wife born him, as showcased in the movie's wonderfully blunt opener. The need for money draws him into the hunt for a gang of cowboys responsible for a horrific act against a local prostitute, and the reward is too much for Will to pass up. Gathering up his friend, Ned (played with low key grace and at times humor by legendary actor Morgan Freeman) and a mysterious wannabe named The 'Schofield Kid,' he sets out to claim this reward, unknowingly placing himself into a conflict between the local hard nosed sheriff, Little Bill, and the cowboys themselves, who have drawn Little Bill's ire. The fact that Bill has a habit of brutalizing and mistreating prisoners is where the movie's major theme comes into play, and its funny how Eastwood uses two Bills for comparing and contrasting of those classic western conventions of the outlaw and the lawman.

However, in this case the lawman is no better than the outlaw, and despite Eastwood seemingly making us root for Munny its clear that he recognizes he's no better than anyone else. One of my favorite scenes is when Ned and Munny realize that their bloody criminal exploits are tough to recall, as they note that they often drowned out their consciences with hard alcohol and loose women. Really the only sympathetic characters in the entire film are the prostitutes at the brothel, who demand justice but instead receive bullet filled vengeance. Eastwood even blurs the lines between myth and reality, as The Kid has a harrowing awaking, and Munny starts to wonder if this trip, which quickly goes horribly wrong, isn't just the Lord punishing him for his sins.

There is a gunfight, however it takes place in a crowded bar full of people, and is thus has more in common with the final gunfight in The Shootist. English Bob is actually used by Eastwood to point out how so many gunfighters were actually either fakes who made up their kill counts or embellished their abilities, or they were not good enough to defeat someone superior to them. In this case Little Bill gets the jump on Bob, and even thinks he one ups Munny, yet he fails too late to properly understand Munny, while he reads English Bob like a book. Yet I don't think that was the case of his undoing; nay, his overreach and his futile attempts to civilize an untamed land through harsh and at times unnecessary tactics result in his downfall.

Which of course results in the crossing of the myth and the man of one William "Will" Munny, a man of, to quote the film, "known thief and murderer, a man of notoriously vicious and intemperate disposition," molding them into one in the bar scene. The reason why this scene is not only chilling but also the best part of the film is due to Munny coldly stating he's killed everything that moves, and also because finally we see the legend emerge from a man who, for most of the film, was instead a shell of a person. You couldn't believe that this old codger had ever killed anyone in his entire life, and by the film's end you have him spewing a badass monologue such as this: "All right, I'm coming out. Any man I see out there, I'm gonna shoot him. Any sumbitch takes a shot at me, I'm not only gonna kill him, but I'm gonna kill his wife, all his friends, and burn his damn house down."

Thus bringing me to my final point: this film is also excellent since, much like John Ford's westerns did for John Wayne, its Clint Eastwood the myth, the larger than life persona that is why I'm such a fan of both him and John Wayne, too. Sure they are flesh and blood actors, and have their faults (Wayne's racism, Clint recently talked to a chair) yet I love them as actors anyways. Someone who is a better writer has already covered this subject, yet I finally realized that much of my list is full of movies that are all about the mythology and fantasy of the Old West, a place that contained many great stories yet the best ones were completely fabricated.

[Dukefrukem]

High Noon has fantastic build, but the climax is very disappointing. That's the best they could think of?

[Morris Schæffer]

Agreed with you Duke. This thread reminds me I need to buy The Searchers somewhere down the line. The blu-ray transfer is supposed to be fantastic.

[Dukefrukem]

Agreed with you Duke. This thread reminds me I need to buy The Searchers somewhere down the line. The blu-ray transfer is supposed to be fantastic.

I do feel the final scene in MM's spoiled text works though, so the ending is not all lost. But the choreography just felt very weak.

[MadMan]

I love the ending to High Noon and how anti-climatic it really is. Considering the films' politics and what happens, that is the only way that movie could have ended.

Also whoa hey people posting in the thread. Time for another update! :lol:

[Yxklyx]

I have a very strong dislike for "The Man Who Shot Liberty Valance". I really don't understand what anyone sees in this film. The whole thing is shot on crappy sets. The story is poor. Stewart and Wayne are too old. It looks and feels like a Lubistch comedy film from the 30s. It could have been - there's nothing in it that says "Western" to me and an aging Stewart in that apron looks ridiculous. Lee Marvin is the only good thing about it.

[MadMan]

Well this thread always needs detractors, too :lol:

4. The Searchers (1956, Ford)

http://ardfilmjournal.files.wordpress .com/2008/08/the-searchers.jpg

Practically everything about this film screams classic Hollywood western, mainly because this is the classic western. The old school country western theme, the shots of the mesas and the harsh desert landscape of Monument Valley, and of course its main star, John Wayne, who personified the genre so well. Anything and everything that could be said about this movie has already been written, so I am at a disadvantage. The only problem I have with this film is its stark racism, but if that's the case then I should have an issue with 90% of the westerns made before 1965. Besides, the film sports arguably John Wayne's greatest performance as Ethan Edwards, which mixed part of Wayne's real life personality with his legend.

One of the things I love about this movie is how well all of the major set pieces are constructed. The attack on the house is disturbing because we do not witness what truly happens, and only the aftermath is shown after the girls are kidnapped by the Comanches. The shot of the shadow lingering over the frightened young girl would easily be at home in a horror film, and the terror depicted is stark and real. A major battle that occurs down near the river is violent and exciting, winding down with the good Captain Clayton being forced to prevent Ethan from killing more Comanches as they flee. This hate that flows through Ethan proves to be the starting point of the main plot, which is that Ethan and Martin go on an incredibly long journey to find Debbie, who they believe to still be alive but held captive by Scar, who is the main villain of the piece yet is secondary to Ethan, who is equal parts protagonist and antagonist.

After multiple viewings, I now recognize something very interesting: how Scar and Ethan are a lot more alike than either one would care to admit. Each are motivated by vengeance and hate for each others peoples, yet this leads to only more bloodshed. Their dynamic drives the movie, coupled with Martin's desperate attempts to protect Debbie from Ethan's hate. The famous scene where Ethan reacts in a savage manner to seeing two white girls who were kidnapped and raised by American Indians is equal parts shocking and creepy. If anything, that scene could be used as a prime example of the ugliness of racism and its effect on people. Maybe not, yet its a thought that hasn't crossed my mind before until now.

Yet what most people focus on is the movie's ending, which some have criticized. The first time I watched The Searchers, I wasn't a big fan of how the film resolved the main crises. However, repeat viewings made me realize that John Ford was truly going for, and why Ford choose that particular ending. Ethan not shooting Debbie signifies him reclaiming a piece of his humanity that was lost to him during the war. He becomes a human being again, and realizes that killing her would achieve nothing. Besides, the film bookends that with that stunningly fantastic final shot, a moment in time that is well known, and rightfully so. Where as others conclude their journey, one man decides to wander off, realizing his task is done and that his time is over.

[MadMan]

3. Once Upon A Time In The West (1968, Leone)

http://livingincinema.com/wp-content/uploads/2011/10/you-brought-two-too-many.jpg

Back in high school, I went hunting for this movie based on the fact that everyone I knew online had raved about it. I had heard nothing but amazing things about this film, and since I had already seen Leone's Dollars Trilogy I figured "Well its Sergio, so it must be good." Journeying to my local Mr. Movies store, I discovered that they were out of the one copy they had. A week or so later after stumbling into a Best Buy, I discovered they had the special edition for only ten dollars. Well $10 isn't that much, so I blind bought it without having ever seen it previously, figuring that if the movie sucked I could sell it. Instead of partying on New Year's Eve that year, I stayed in and posted on the Internet, followed by viewing Once Upon A Time In The West. Right off of the bat I realized how amazing it is, and there are times when I feel that it is Leone's magnum opus, even better than his other two brilliant entries, The Good, the Bad, and the Ugly, and Once Upon A Time In America. Picking any of those three as his best movie makes sense.

Really though its a shame that we only got a handful of films out of a man who was such an expert at his craft. OUATITW has a much tighter narrative than TGBTU, and showcases his ability to utilize Ford's mythology creating skills while molding his films into his own unique style. Having one of the greatest composers of all time in Ennio Morricone sure helped, as the two were at times collaborators and partners. He also of course benefits from an amazing cast, and even had legendary horror director Dario Argento help him write the screenplay. Despite making one more western and helping produce another (neither of which I have seen, I'll admit) it is this film that has the look and feel of his final statement about the western genre. Here we get another window into the mind of a man who gave as much to the western as the western gave to him. Its a vision that is utterly remarkable, and I don't think we'll ever see that again.

What I love most is that Leone almost repeats himself without repeating himself. The trio of main characters is rounded out with a forth, a desperate woman forced to survive on her own. The three could be Leone simply copying the trio from The Good, The Bad, and The Ugly, but he doesn't, even though some could argue otherwise. Harmonica is not The Man With No Name, for he seeks revenge and justice. Frank is so dark and evil that he makes Angel Eyes seem nice by comparison. Cheyenne is not Tuco, and he does not betray people-rather he is a charming rogue with good qualities who ends up aiding Harmonica in his quest. Jill McBain, the woman, doesn't seem to fit in with these men, and yet she is the perfect plot device, the person who is so easy to be sympathetic towards.

All of this of course playing out amongst the clear blue outdoor skies, the mesas just lying around the corner. Leone at times shows off his abilities as framer of scenes, with a particularly amazing moment coming as Jill first steps off the train and we get a visible look at the dusty frontier town she's arrived in. This tale of bloodshed and grief, hope and tragedy, never ceases to have that stunningly epic tone that makes is grand, something I feel is missing from today's westerns and from too many movies in general. I wish that Leone was still around, making films, that cigar in his mouth, white beard, glasses, and all. What we have left is the magic he gave us, concealed in his films. Not bad for a guy who got his start taking over the production of some forgotten swords and sandals movie.

[MadMan]

2. The Wild Bunch (1969, Peckinpah)

http://www.ifc.com/wp-content/uploads/2011/08/081911_wildbunch.jpg

Back in the 1960s, the western genre still was incredibly popular in TV and the movies. Yet with the death of John Wayne and later on John Ford, the genre started to enter what would become an extension of both the golden period begun in the 1950s and also its twilight era as well. Fittingly the decade concluded with two marvelous pieces, Once Upon A Time In The West and The Wild Bunch. Considering that the decade also ended with the Vietnam War's bloody images being broadcast back home to the American public and the gruesome Manson Family murders, The Wild Bunch's extreme violence and bloodshed was a sadly fitting finale to a period that did not fulfill its great promise. The Wild Bunch also works as a swan song for the western years before its demise and rebirth.

Sam Peckinpah in many ways reflected the life of his characters as he was a hard drinker and womanizer. He also created some excellent movies, some which I still need to watch, and The Wild Bunch is considered chief among them. A gang of aging thieves ride into a dusty town, aiming to rob a safe. However an ambush is waiting for them, and a shootout with multiple people being killed occurs in stark and horrifying fashion. Peckinpah refuses to hold back on displaying the bloodshed, and the use of slow motion is not a gimmick technique so much as his way of enabling the viewer to get up close and personal with the action. Seeing a man cut to pieces by bullets stands out more in your mind when you can see it happening gradually instead of incredibly quickly, even though death by gun typically goes by rather fast.

Naturally the gang journeys south to Mexico, with a posse hot on their trail. This western cliche is utilized in terms of having one of the gang's former members being forced to hunt his ex-comrades-thus his questionable loyalties come into play and are more shifty than expected. Robert Ryan portrays that man with his usual grit and honesty, which is why he was a rather underrated actor. Against him is William Holden's Pike, a man who knows he will probably die an outlaw one way or another, although he would prefer to go out in a hail of bullets instead of by old age or the hangman's nose. The last adventure only gives rise to more killing, resulting in a final conflict that perhaps everyone saw coming, one way or another.

What I love also about this film is how the non-violent, more quiet moments are depicted onscreen. Peckinpah lets us evaluate the gang, and makes us realize that we can root for a group that has spent most of their lives on the run, robbing and killing to make a living. Fittingly the posse chasing the gang is a bunch of cowards and hired killers, men without honor or loyalty. It is loyalty that is undoubtedly the gang's undoing, and yet Pike and his men choose impossible odds instead of abandoning one of their own. The climatic shootout has a display of carnage that rivals most action movies, with blood flying and corpses piling up faster than anyone can reload. All of it results in tragedy, tears, and of course, the red stuff flowing.

Over the years I've viewed this movie endless times, and I never cease to marvel at how well constructed the film truly is. Despite the decently sized run time it flies by rather quickly, and the conclusion is one of my favorites when it comes to endings in western movies. The dusty trail ends up being traveled by a dwindling few, as the remainder wary travelers march on, heading to places unknown. All they have left is their ancient memories of friends left behind, and people they once encountered.

[transmogrifier]

The best movie I have ever seen. Love it dearly.

[MadMan]

The best movie I have ever seen. Love it dearly.I noticed that on your reviews blog/site. I don't think its the best movie I've ever seen, but its pretty amazing so I approve. Hey you and I liked a movie wahoo :pritch:

[MadMan]

Well folks we've come to the end of this thread. Besides I thought I'd use my 15,000th post to discuss my all time favorite movie. The tricky part though is reviewing something I've already reviewed before...

1. The Good, the Bad, and the Ugly (1966, Leone)

http://cdn.wegotthiscovered.com/wp-content/uploads/The-good-the-bad-and-the-ugly_4.gif

Everyone remembers when they first viewed their favorite movie, and I recall the first time I watched this: it was on AMC and this was back when they didn't have commercials or edited their movies. I was a kid at the time in elementary school, barely able to understand cinema and movie making in general, yet despite having to be medicated for ADD and ADHD I was able to sit through this epic lengthy western populated with anti-heroes and villains alike. I had no idea who Sergio Leone was, but I did know Clint Eastwood and the fact that he played the main character was all I needed. Eli Wallach and Lee Van Cleef have also since become favorites of mine too, yet my younger self only knew them as set against this Man With No Name. It was only later when I viewed the other two films in the so called "Dollars Trilogy" and I realized that The Good, the Bad, and the Ugly was a prequel-at least that's what I've read countless times anyways-even though it was the final installment. Funny enough my parents regulated what I viewed on TV (they failed as much as they succeeded, anyways)-however my old man was okay with me seeing westerns, even though I was prevented from viewing some of Eastwood's even more violent fare such as the Dirty Harry movies. Naturally this has led to my endless love of the genre, too often willingly overlooking its faults or being kinder to lesser fare that most people have seen fit to bash (and unfortunately for poor Stay Puft forcing him to watching the merely solid/good at best The Cowboys for our film swap, while he told me to view the much better and more interesting In The Mood for Love. Sorry buddy).

Any movie that opens with the ugly, windswept craggy features of a nameless cowboy standing in the hot sun cannot be completely dull. This is how Leone chooses to open his movie, cleverly showcasing each of the three main characters in the wrong order. It could have also been a mistake, yet really I feel he was mirroring the interesting level of each to a degree, although the Good ends up changing later on for varied reasons. The Ugly is of course the most complex and fascinating character, so naturally Tuco is displayed first, busting out of a window after his violent escape. Leone uses numerous set pieces that really are only strung together by one, two, or all of the three characters being in them, and that doesn't matter since he has style to spare. The Civil War is merely used as a gigantic epic backdrop, serving to further display horrible acts of violence set to Morricone's magnificently stirring score. In a film class I argued that if one adheres to auteur theory (I'm not a fan) Morricone can be considered as much the author of this movie as Leone is, and I agreed with that assessment. The two worked hand in hand wonderfully for most of Leone's career, and it was reflected on screen in Leone's masterful direction. Particularly a couple of scenes in this movie that are indeed rightfully famous and well known, moments that showcase this movie's richness.

Whether or not this movie has anything to say of importance, I don't know and quite frankly I don't care. The Old West was a violent and random place full of different men, women, and children from different places. Leone in a way reflected that in his westerns, as did other famous directors. The Good, the Bad, and the Ugly is special to me (and I've seen it endless times-in fact I've lost track) in ways that I'm not sure I can properly describe. Seeing Tuco run through the cemetery to Morricone's "Ecstasy of Gold" is a display of excellence that I have found elsewhere, sure, however I can only think of maybe a handful of scenes overall that match the power of that moment in film. Leone even makes us sad not just at the prospect of young men dying in a war that most never wanted to fight, but also has us empathize with an aging drunken Northern commander who pays a heavy price for following orders. You can't really blame any of the three for refusing to be involved in a conflict that they feel does not concern them, however each of them gets swept up in the Civil War anyways. It is in fact the harsh reality of death that changes The Good or at least affects him, although a previous brush was enough for him to stop devaluing life.

Naturally one cannot talk about this movie without mentioning "The Trio" and how Leone cannot resist a truly epic gunfight. Yet I actually am a bigger fan of the gunfight scene way before it where Tuco and The Good team up to kill Angel Eyes' men. "Due Contro Cinque" makes that scene tense and exciting as death occurs before us. Sure yes "The Trio" is amazing, and the gunfight in the cemetery is probably the greatest of all time, however I think it works differently since its more quiet and reserved. Three men have come to kill one another, and yet they do it in the manner of rich noblemen, lining up across from one another and quietly waiting until the time is right to strike. Incidentally I do own the soundtrack, and its full of as much greatness as the movie is, echoing the film's obsession with broad strokes and the theatrical. One day perhaps I will get the chance to see this on the big screen, yet until then I will continue to enjoy the special edition two disc that I purchased back in 2005. It is the most expensive movie I own (well perhaps the Criterions have it beat) and I consider it my prized treasure, a towering example of the power of movies.

With that I close out the thread. I am re-posting these on my new blog, and it was fun to cover my planned out list. I'm sure it will change in the years to come (in fact I recently viewed a film that deserves a spot on here, although I'm not sure many will agree). Cheers and thanks for reading.