I’ve been working from home, making the most of the sunshine, whilst working on a more violent test video – the Japanese remake of Unforgiven (1992) – Yurusarezaru Mono (2013) which is just over twice as long as the last test video. Both being the same scene I could see how they are basically the same in terms of structure yet the later one is far more violent. Maybe that is due to use of samurai swords which are more dangerous, in terms of the damage they can cause. Ultimately both the sword and gun both can and do induce fatal injuries. Cinematically they are very different visually in terms of impact creating different reactions when they have been used to inflict pain.
Looking at the most recent test video the slower rate I stretch the broken clips to I could see the impact was starting to be lost. I think at 15% you lose real impact, which applies to both, moving into self parody of the actors in the scene making the most of their death scene.
Once I play both videos I’ll know how they look and play out, the timings will show what is more effective when projected. The juxtaposition of the Japanese remake will prove interesting, as I bring the scene and it’s violence to the original setting – the Wild West. I could be moving away from Westerns to look at Samurai films. I also want to see how this same technique – if successful works on a larger model which I’ve mentioned previously – Minnie Haberdashery in The Hateful Eight (2015) which sees countless innocent people being killed and more violently.
Work on the physical model miniature is now complete. Today I took advantage of the heat and primed and painted my posts which I’m surprised have fixed in place to support the ceiling. Three coats later I called time on the model miniature. Looking at the model now, it is my first internal model, It’s minimal design reflects the saloon in Unforgiven (1992) which I’ll be projecting footage from next week at the earliest. I’m pleased with how it has turned out so far.
Looking at the test video again I am concerned the way the violence has been slowed down multiple times might come across as more like something from a Sam Peckinpah film. However thee more I think about it, the violence he captured was from various angles, to see the full extent of the violent act as the victim falls to the ground, the impact of the act is really stretched out and thrown at the audience. Still I have to see what happens before I get too concerned.
The last few weekends have seen me bring the saloon model miniature together, so it’s a solid white, ready to project against. I’ve been moving faster than I expected which is always good. With the model all but complete, the ceiling in place I decided to add the posts which I found at least two in the set itself. If anything they really are the finishing touch without bring too much detail. I’ve got the balance right. I just need to wait for them to fix in place before I prime and paint them.
I then moved on to prepare and edit new test videos, using footage from Unforgiven (1992), the final showdown, which was reduced to the reactions to gunfire. Which took less time to create than first thought. Surprisingly little gunfire goes off in this scene. I decided to slow down each of those reactions a few times. I’ll see how these all work once the last of the painting is over.
Lastly I made a start on the same scene from the Japanese remake Yurusarezaru mono (2013) which I didn’t find surprising that it contains more violence in the equivalent scene. I haven’t finished that test video that will be projected into the same model. It plays with the relationship between the two films and the violence within them.
I feel like I’m going through a lot of cardboard at the moment, it’s all material that’s been stashed away for just such a piece that requires so much of it. The saloon is really taking shape now with not just the detail but the addition of a ceiling too. I began the day working on the stairs, which in reflection maybe too wide at the bottom, however it’s not a big deal. I’ve added the bolsters (please correct me on that if I’m wrong) before I add the rail later. I also blocked off the top to suggest that a door leads off from the landing.
The biggest development was addition of a ceiling, which I was, well I am still concerned about in terms of how it will affect the projection. It may block out light and distort the image. I am going slightly over what was probably built for Unforgiven however I need to see this as a saloon, a location and a space that was filmed in and expand it. It also has stairs which would/do lead up to another floor. At the moment the ceiling isn’t fixed and will remain that way until painting is complete, as posts will be going underneath to hold up. It will also prevent and even finish of paint.
The entrance has also been looked into, with the door now intruding into the piece. Whilst I have also made a start on the bay windows which I’ll be working on more next time. Lastly I’ve got the balsa out for the framing of the doors and windows. Soon it will all be about the detail before I get the paint out again. It’s come a long way in a few days, I’m sure I’ll be painting in no time and get the projector out to see how it all turns out.
OK technically I did everything in this update yesterday but I was enjoying the company of friends to post. After last weeks crit group I have decided to try out one of the ideas, which was to focus on the violence of one scene, edit it to then show the violence, and project into a purpose-built model of that scene. Here I have made a start on the internal model miniature of the one in Unforgiven (1992). I’ve been playing back and forth the clip to build up and image of the saloon over the day, sketching out elements to see how it looks together.
I then made a start on a loose model of the saloon which after only a day it has really taken shape. I had to gut the previous model to make room for this one as it was just a generic one for a prospective test which has been scrapped. I finished the day looking at the tables, which I believe were covered in green felt – for playing cards, these had to be reduced in diameter for scale too,
Moving on I have to add a fake wall at the top, I’m considering looking over the footage to see if I need to add a ceiling, as I have seen at least 3 posts that need to be added. Also turning to the entrance I need to redesign the door way and getting grim, I need to add a coffin that leans outside. I’ll do a few tests with this set after it’s painted white, see how they look. It’s a real change to recreate a set of a film, which I haven’t really done since Uni, being film specific is something I have wanted to avoid for most of my practice, there are times when that rule has to be broken.
Now this is a rarity, a review of a superhero film. Previously I’ve seen a few superhero films, I could give a list – mainly X-Men, as I grew up with the cartoon as a child. Only a few months ago I caught Deadpool (2016), yes I’m a bit slower when it comes to the costumed characters. When I heard this film in the same breath of the Western I was more interested in seeing Logan (2017) billed as being Hugh Jackman‘s final outing as the angry clawed loner. Also to be the first and possibly worthy film for the character – which I can’t really comment on.
I can however draw on my understanding of the Western in relation to Logan, which will take up the majority of my time here. So let’s get under, saddle up and ride on out. Or in Logan/James Hewlett (Jackman) is a limo driver in the year 2029, living in Mexico. He is clearly tired and ravaged by time, the years haven’t been good to him. The once virile mutant filled with rage really doesn’t want to get into fight, he’s become reluctant to draw out the adamantium that have become more of a curse than before. The feeling of immortality has long faded, age and time is catching up with him. Much like in The Gunfighter (1950) – Johnny Ringo (Gregory Peck) who wants to lay down his gun, tired of killing and running, wanting a normal life. His celebrity has long-lost it’s appeal, now a target for young wannabe’s hungry for that trophy and title “I shot Johnny Ringo”. Wolverine/Logan is our gunfighter who has gone into hiding, nursing Charles Xavier (Patrick Stewart) whose suffering with dementia, needing medication to keep him lucid. Any drop in dosage can unleashed his now uncontrolled mental abilities can be felt on an almost planetary scale – it’s just not worth thinking about.
So if Logan is the gunfighter, Xavier is the elderly parent who once took him under his wing, brought him up to be the man he hoped to be like. It would be wrong to compare Xavier to a Walter Brennan character who acted as the older sidekick whose life experience’s are shared with our hero. We also have a mutant tracker, an albino Caliban (Stephen Merchant) is the unwitting sidekick who keeps both in check. We have the first of our principal characters in place now.
The film begins as it means go on, setting the tone, its hard language and bloody violence, not through Logan wanting to deliver it. Coming from a place of self-defense of self-preservation, showing that there is a place for violence in the comic book universe beyond imaginary buildings and cities being blown up in a computer. The violence leaves little to the imagination, even quick editing we are still left feel slightly queasy at the body parts being cut into and off into multiple victims throughout the film. It’s also the first time that I’ve heard Stewart swearing and as coarsely. I’m reminded of Unforgiven (1992) that sees violence rise from the embers of once prolific gunfighter William Munny (Clint Eastwood,) who picks his gun up hopefully for the last time, a big pay off that will support his family. Turning back to an old undisturbed part of his life, thought to be tamed by his dead wife. What we see is a resurgence in those aggressive emotions, the death of his friend Ned Logan (Morgan Freeman) a line has been crossed, up to this point he’s been rusty with his rifle, not able to mount a horse without assistance, a shadow of his former self. Logan is Munny just with a adamantium skeleton – no need for the rifle here.
The films director (James Mangold) has been pretty blatant in his sources of inspiration – namely Shane (1953), the titular gunfighter played by Alan Ladd who enters into civilisation if only briefly to free a town from the strangle hold of Ryker (Emile Meyer) threatening the homesteaders who were trying to make a life for themselves. Then there’s the annoying kid Joey Starrett (Brandon De Wilde) who looked up and adored the man with a gun, who could handle it with such finesse and skill it put his own father Joe Starrett (Van Heflin) to shame, he was not the man who he wanted to look up to. That was something he had to learn and accept. The acts of violence that Shane commits are held back to the end of the film, allowing us to see this strong stoic figure who only shoots when he really needs to. This skill is more than just that, it’s a form of defense that stops him functioning in society. He ultimately has to ride on away from the homesteaders who have chosen a peaceful life. The link’s seen in a few scenes Logan, we see it literally on TV, supposed to be nearly 100 years old (76 years, but whose counting). Showing that it still hows the power to hold the attention of an audience. The scenes carefully chosen to include Shane.
Our Shane is clearly Logan whose followed by his own kid (spoiler!!) a young Mexican girl – Laura (Dafne Keen) herself on the run from an army of men and mutant who want to capture her. Her own existence is very similar to Logan’s, through no fault of her own plagued by this mutation that has been engineered, thanks to mad scientist – Dr. Rice (Richard E. Grant), a connection to the X-Men cannon. One of a new generation who are on the run, the gunfighter of the Marvel universe start even younger. No need for guns, they were born with their own gifts (if you can call them that.
Away from the Western connections and themes we have that of family, having only Xavier and Caliban as Logan’s family, its dysfunctional, a father figure who has become the receiver of care. Family isn’t something that comes naturally to him, the violence in him does not allow it to really happen. All he’s ever had has either left him or been killed. With the unwanted arrival of Laura his world starts to change, his perspective on life, he softens up towards the end if only reluctantly. She also acts as a way of the character carrying on in future films and the wider Marvel comic universe which I know little about. Here she’s just a child, but one with more than her share of issues to conquer in order to function. The baton’s passed here as characters die, passing them onto new ones.
I’ll end where I began, I’ll probably never again review another comic book film, this however spoke to me, my passions, the ideas in the western are very strong. You could say the comic book super hero is just another gunfighter, their adventures chronicled in the pulp that made them. The dime novels of the 1800’s did the same for Buffalo Bill and Jesse James and numerous others, the legends were being printed, the truth being blurred with each publication, which is referenced also in the film with a subtle self-awareness that doesn’t take you out of the film. You could say it’s a Western, just with an angry guy you don’t want to cross.
There’s been a of talk around this western, ever since I read the brief outline for The Revenant (2015) I immediately made the connection with the Richard Harris film which depicts the same events in Man in the Wilderness (1971) which for a while was all but ignored until the reviews started to come out. It’s hard to ignore really, as year drew to a close I understood that both The Revenant and the earlier film are based on the same real events but two different fictional accounts of that event. Sounded a little confusing at the time, yet they both put their own spin on facts of a frontier time in America, becoming part of the legend that is America’s history and folk-lore. More recently it has been released as award-bait which it clearly has in heaps as each ceremony is leaning towards. It could also be the year to end all the Leonardo DiCaprio memes as he should get the Best Actor Oscar, which is well deserved and a long time coming really, more on that later. Also up for best picture which I can see this easily getting, even though director Alejandro González Iñárritu picked up that one last year for Birdman (2014), could he be the new John Ford, or is that too premature in terms of Oscar success. Could this be the year that a Western wins big again, something that has not been achieved this Unforgiven (1992). There has been a slow return of the genre, not in the classic form, or even a lighter tone of the 1990’s, they are more reverential and reflective, more adult than even some of the 1950’s classic which are still hard to beat. I saying this even before the end of February. I feel though that as I have built up an interest and a practice around a dying genre it has been reborn once more, I feel lucky to have that , if only it was back in the golden-age.
Anyway enough of all the chatter and down to what I think make this film, why it stands a very good chance at the Oscars. Whilst also comparing it to Man in the Wilderness which I must say now is hard to call which is better in the light of the intense experience that I felt coming out of the cinema, the imagery so raw and fresh. I couldn’t help making comparisons with Terrence Mallick when looking at how nature’s captured, the whispers of dialogue in flash-back, yet Iñárritu isn’t trying to imitate the director, it feels more like coincidence, adding another dimension to the film and to Hugh Glass’s (Leonardo DiCaprio) back story that the centre of this revenge western.
I also found myself drawing comparisons with Jeremiah Johnson (1972) and The New Word (2005) combined with Man in the Wilderness to give us this hybrid that can stand on its own two feet. Maybe its the time period that they all cover, pre-Civil War America that we have come to know and define the language of the genre. The country has yet to be won completely, we are supposed to be in is still untamed, filled with trees and at the moment snow which is another natural enemy against the group of fur trappers that want to return home with all they have caught. Immediately caught in a vicious fight with Natives who ambush them, its a bloody scene that finds even the audience wanting to hide from the arrows. From the first few seconds you are immersed into this dirty, cold and dangerous world. Helped in part by the sound design on the film, heightening your senses to think that you are not just watching these events but out there in the cold. We get a lot of opportunities to look up out to the sky from the trees, as if to say look at what we have lost since the country was won. But you can say the same for most modern countries, as they are reshaped in the image we want them to be, for our purpose. Still it doesn’t drive that idea home we are left to come to that conclusion ourselves in this still untamed wilderness of the mountain man and the settlers of the 1820’s
Without giving too much away in regards to the plot that hasn’t already slipped through the net, I found myself waiting for the bear attack, not that I was impatient that was a building of tension among the men, especially between Glass and John Fitzgerald (Tom Hardy) who resents him for advising their captain Andre Henry (Domhnall Gleeson) who is more open and understanding a strong leader among this band of rough men and boys who have gone out fur trapping in the wilderness, having to hide a good number of their finds before moving on, a much depleted force, only 10 left after a bloody ambush. There is a great focus on Glass and his son Hawk (Forrest Goodluck) the child of mixed race who gets some abuse, only kept alive by his fathers forward thinking. Needing him to stay quiet to survive, better to be seen and not heard. Even though as we find later in the film, some nations are still living peacefully with the American’s. The push Westward has not yet begun as we know it in the genre.
Of course when that scene between the bear and Glass is happening, it’s in your face and it’s not pretty. Something rather brutal, being taken along with Glass as he is torn to pieces almost. A tiring scene, which is not something I say lightly, it lasts what seems like forever, as he is played with like a rag doll in the cover of the forest before the men come out to find him. I couldn’t help but start to draw comparisons between this and Man in the Wilderness which is an abridged version of the same events. Here its a far wider and emotional journey for all involved, the men are all rounded characters. As much as Tom Hardy is chewing his dialogue, he’s held to account by Bridger (Will Poulter) who is the conscience he really doesn’t need at his side. Hardy is a worthy foe for Glass who spends the rest of the film avenging his son, Something we don’t get in the earlier film. There’s more emotional intensity now, more reason to return alive, not just to find the men who left him for dead.
They are both strong in equal measure in terms of depiction of the Native American, who even have a few lines in their own language, we even meet the French who are abusing their power in the untamed country. I still remember the silent labour in Wilderness that will stay with me, I found it quite powerful how dignified they were portrayed. It may have been Hollywood’s way making up for all those other messy inaccurate depictions, indulging in the other if only briefly. In The Revenant they are interacted with, they are not the enemy to be feared, coming from Glass’s history he has no fear, even speaking Pawnee. They are both different films telling the same story, or version of the facts and there is nothing wrong with that.
My first encounter with this film was on my birthday during the install of my degree show. I was recommended to watch it by a friend who knew I would like it. That’s an understatement, I loved it. My memory of High Plains Drifter (1973) has long since faded, all I could remember was the ghoulish red town and the whipping flash-backs which stay with you long after the credits have rolled. In terms of the western genre this has more in common with its Italian cousin, the spaghetti western which strictly speaking are not westerns, they have the form of the genre but don’t really have the language of the American full-breed which if I’m honest are less violent during their greatest period. The violence was exploited and amplified. Once you get over the dubbing of all but the American star of the film (Lee Van Cleef, Clint Eastwood et al.) you have this pumped up action film with more sex and violence than you’d have found to that point in the home of the genre. They didn’t carry the legendary status in the characters as subtly as Shane (1953), having built them up in the opening titles as these already fastest guns in the west-types such as Django (1966) where we are treated to another installment. Back home they’re stirred into action, not wanting to fight and draw their guns so easily, having more progression in the gunfighters.
Looking at Clint Eastwood’s influences his time with Sergio Leone strongly influenced him, the violence the stranger with no name, the anti-hero who you end up routing for comes out on top. His first western behind the camera he is still find his own unique voice, one he is adopting from the persona of the man with no name. The tone of Drifter is very European, its hard to sum up in a few sentences, the town looks freshly built, making it more become a backdrop that standout, it’s a newish town that is trying to sustain itself. Laying it’s foundations next to a lake that seems too close for comfort, suggesting it could all be washed away in stormy night. It all becomes very fragile. The town of Lago is actually another character that’s abused in the film (more about abuse later) which we see is transformed, blown up and eventually burnt down. Its part on the film is on some levels more important than the people who inhabit it.
Turning to the townspeople I’m reminded of Bad Day at Black Rock (1955) a town with a dark secret that is bubbling on the surface ready to spill over. Except we don’t have a strong replacement for the mean Robert Ryan who did actually scare the life out of Spencer Tracy (during filming) who was the outsider looking for the truth. The secrets a lot looser here as the film takes on more of a horror tone, Clint’s not giving us a straight Western, it’s a Western-Horror complete with flashbacks which you don’t really see in genre, that plague your mind. A sequence which is played out at least twice but feels a lot more in the mind. It’s the conscience of the town put on the screen.
There is also a strong influence of The Magnificent Seven (1960) or should I say more precisely The Seven Samurai (1954) a cowardly town turn here to one outsider (not seven) that is more dangerous than the men they have been home to for at least a year that have played host to that have just been killed. Except these are all Mexicans who are fighting off bandito’s, they are American citizens who should by rights be able to pick up a gun and fight without fear. They seen off the Mexicans and almost solved the “Indian problem“, why are they so afraid? They need Clint’s stranger who doesn’t really care for them at all. Which leads me back to the flashbacks which are very important in our understanding of who he is, or in fact was. He is not so much flesh and blood as he has ghostly presence, he knows more about the town than he lets on. I believe he is ghost of the whipped town Marshall Jim Duncan (Buddy Van Horn) who we see in versions of the same scene that we’re reminded off. It’s the reason that The Stranger is here, the reason the town’s scared of the men who will be riding back for revenge after a year in prison. We follow these men back, they are ruthless in their journey, killing for horses, clothes and fun, these are dangerous men for sure.
The Stranger’s presence in Lago shakes everything up, from his first hours he has raped a woman Sarah Belding (Verna Bloom) which is brutal to watch, yet filmed from the woman’s perspective a glimmer of what is to come from Unforgiven (1992) nearly 20 years later. As much as Eastwood is a feminist he wants to come across as the revengeful type who will take what he wants. Maybe this was Duncan’s lover, we just don’t know. We do know that she vocal in her experience to the law who simply want to pacify her modern views that wont be accepted until the next century. We don’t linger as much on the rape as we do in Eastwood’s later film which hinges on request of the prostitute who places a bounty on the man who disfigured her. From a lower position in society they are exerting more power than the men who want to keep both cases quiet. Ironically their next encounter is much more consensual after working his charm and danger, as if he has broken a horse in, now he simply has to ride it when he wants (yes I know it’s a poor analogy but suits the film).
Here in Lago having The Stranger in town is very much to their advantage who abuses that power. From the beginning he turns things on there head. With a free card to do as he please, have what he wants he makes the much small person Mordecai (Billy Curtis) the sheriff and mayor of the town, the butt of the jokes, is placed in the strongest position behind the stranger. He’s not there for comedy with Clint who wants to play with these people who are fighting themselves more than they had before. It’s chaos in Lago. In-fact Mordecai’s built up, from being this typically comedic role to one of great importance, he uses his position to abuse those who have given him s*** for years, now it’s his turn. He is also another way into the past of the town, he too has a connection to the late Marshall, which may lead to his role in the film being so prominent.
I could go on forever about this film there is a lot going on so I’m going to turn instead to the ending which once again got me thinking of another piece I could make in the future, as the town is literally painted red, bringing new meaning to the phrase, which ironically has roots in my home county of Leicestershire in the town of Melton Mowbray when the Marquis ran riot causing mayhem and literally painting the town red in places. This is too strong to be coincidence, turning the idea on its head so the townspeople are causing the mayhem, they are preparing themselves, practically inviting the trouble. Renaming the town Hell, which has move to the surface of the Earth. The town can be seen far quiet a distance now, in one uniform colour of bright fake-blood.
All brought about by Eastwood’s ghost which is more than just showing up the town. He is getting revenge on them all, luring them into a false sense of security before deaths unleashed upon them. The role of the gunfighter’s turned on its head, no longer is he the gun for hire or protector of the people he is using his position to induce fear and draw it from his own past. Could he be the devil as the film draws to a close, he rode literally out of nothing and back into nothing, as if the ghost can now rest peacefully knowing that he has settled his unfinished business. Eastwood early on is showing that the standard western has to change, with his Italian influences and the changing language of cinema. You could say this is more fun than the formulaic Western but that would be ignoring the level of violence and rape that goes on. He is definitely pushing the boundaries of what you can do with the genre which he is reshaping in his image.
- High Plains Drifter (1973) (westernsontheblog.blogspot.co.uk)
- High Plains Drifter as Social Commentary (thewesternwordslinger.blogspot.co.uk)
- High Plains Drifter (1973) (buddiesinthesaddle.blogspot.co.uk)
- Clint Eastwood’s film High Plains Drifter (1973) (tim-shey.blogspot.co.uk)
- High Plains Drifter (1973) (sonofcelluloid.blogspot.co.uk)
- High Plains Drifter (nothingiswrittenfilm.blogspot.co.uk)
- High Plains Drifter (1973) (commonsensemoviereviews.blogspot.co.uk)
- HIGH PLAINS DRIFTER (1973) (cinefilestv.blogspot.co.uk)
- High Plains Drifter (Universal, 1973) (jeffarnoldblog.blogspot.co.uk)
- High Plains Drifter (1973) (voyagesextraordinaires.blogspot.co.uk)
I’ve watched two gunfighter westerns in a row now, Gunfight at the OK Corral (1957) and now The Gunfighter (1950), both of which I’ve not seen in sometime. Both sharing the theme of the life of the gunfighter, not having a place to call his own. A reputation built upon fear and sheer luck, not able to stay in one place for too long. I could stop the review there,I have just summed up The Gunfighter in a few sentences, but that wouldn’t do the film justice, which isn’t fair. So I will be going to explore this very short film that takes place mostly in a saloon bar-room. Used as a place of hide-out from the rest of the world that is wanting to put a bullet in him.
After running from one town at the beginning where he is tested by a “squirt” who wants to makes his mark in the world, to earn a name is gunned down legally (back in the Wild West) which at the time is still acceptable. The right to defend yourself is enshrined into the American Bill of Right you can understand the countries relationship with the deadly weapon. That hasn’t really changed much, of course you need a licence now and a motive for defence has to be rigorously tested in court. The Gunfighter explores the psyche of the gunfighter properly for the first time here. The giant men of the west such a Wyatt Earp, Billy the Kid and the likes are or were dangerous men who have been glorified. Earp did as we know become a marshal as I have recently seen portrayed by Burt Lancaster. Both Earp and Johnny Ringo (Gregory Peck (in The Gunfighter)) both have learnt from past gun-fights that it’s not really a life to aspire for. It’s an aspect masculinity that is really a flaw that needs to be kept in check. To know when to draw a gun, to defend oneself.
Packed into the short running time we have the repercussions of that last gunfight as three brothers come after him. That’s not before we discover how good Ringo is with a gun, he is not a man to be messed with. Or one that wants to mess around, wanting the quiet life now, becoming to talk of the town where we spend the majority of the film. The saloon, his hide-out from the world, and probably where he killed most of his victims all over the West, it’s only the interior and people that change. It also reflects how trapped he is, unable to move freely for the reputation that precedes him. Boys skipping school to catch a glimpse of what they believe to be an idol in their town, seeing him as a role model and not a murderer.
It’s thanks to old friends such as Marshal Mark Strett (Millard Mitchell) that support him, keeping him safe from those wanting to try their luck with Ringo. Learning that Strett is himself a reformed gunfighter who went straight to now enforcing the law. We also have Mac the barman (Karl Malden) who is both in awe of Ringo yet is able to look beyond to see the man without the gun. A man who just wants to see his old flame, school teacher Peggy Walsh (Helen Westcott) who couldn’t accept him. Forcing him to leave her and his son behind.
The Gunfighter is not all about the action that comes from bar-room brawls and quarrels that have to be sorted like gentlemen out of the street. Its about having to deal with your path in life and how it affects other people. Taking the route of violence may have its appeal at first, which wears off when you start to really hurt and kill. Summed up far better by William Munny (Clint Eastwood) years later in a few lines.
“It’s a hell of a thing, killing a man. Take away all he’s got and all he’s ever gonna have.”
When you look into the life of a gunfighter once the crowds have gone, what do you really have? People living in fear, families of victims wanting vengeance and justice, the fear of someone being faster than you are. That’s before you get the glory that comes with the title of being a gunfighter, not to be crossed or wronged. Losing out on having a family and a partner to call your own. The Gunfighter starts to take the western seriously, the figures of the West before were seen as heroic figures before the law takes them down or they change their ways. Now the western is growing up as the 1950’s are beginning.
- Movie Review: Gregory Peck in The Gunfighter (1950) (mark-markmywords.blogspot.co.uk)
- 41. The Gunfighter (wondersinthedark.wordpress.com)
- The Gunfighter (1950) (buddiesinthesaddle.blogspot.co.uk)
- Weekend Marquee — The Gunfighter (greenbriarpictureshows.blogspot.co.uk)
- The Gunfighter (1950) (thegirlwiththewhiteparasol.blogspot.co.uk)
- The Gunfighter (Fox 1950) (jeffarnoldblog.blogspot.co.uk)
- The Gunfighter (1950) (nothingiswrittenfilm.blogspot.co.uk)
- TOP 21 FAVORITE WESTERNS — THE GUNFIGHTER (westofriver.blogspot.co.uk)
I’ve been waiting to catch the Japanese remake of Unforgiven (1992), wondering how it would compare, which I can’t help but do. On the face of it these two films are the same in terms of the basic plot, the three men who ride into avenge a prostitute has been attacked. There is however more added depth to Unforgiven/Yurusarezaru mono (2013) with the added strand of their countries civil war between the now samurai and Shoshon in the 1860’s, which mirrors the American civil, I don’t remember that in Eastwoods western at all. (However I haven’t seen it in 4 years) which gives the characters more of a back-story, not just gunfighters who left a trail of death and destruction in their wake. Much the same goes for the two elder men Jubei Kamata (Ken Watanabe) and Kingo Baba (Akira Emoto) who start out on one last job in hopes of collecting the reward money. Something that Jubei has long since given up since his days of killing to survive. To raise a family and work a small farm. You could say on the surface that he is a changed man who is simply struggling to keep his family alive in the 1880’s. Whilst Kingo is willing to go on one more job.
With Jebei’s wife long dead he soon gives into his friends persuasive words, riding out a while later. Its still very much the same film, switching 19th century America for Japan, its’s that simple. Of course the dialogue is different, at times I can’t read the subtitles as some bright spark decided to make them white in a font that becomes invisible in the snow. Moving on we soon meet up with a younger man who wants to join up with the veteran swords men, ready for another killing. Even his back story is fleshed out more, finding out he is a Anui a race that the then Emperor was trying to reduce, much like the taming of the Native American over the other side of the Pacific.
Add into the mix the small town where all the action takes places we have the sherif who exerts more power than necessary. Using violence to quell violence. Much younger than Gene Hackman‘s Little Bill Daggett who mirrored by the far younger sherif who doesn’t care who he hurts, using the law to shield himself. Whilst the group of prostitutes are struggling to be listened to. You could say it’s a feminist film, but I’m not too sure, as much as there women are willing to defend themselves, they still pay for men to do the dirty work. They are hiding behind the strength of a man and his gun/sword.
I think to really compare both films I need to re-watch the original Eastwood classic to truly understand what is going on. I think there was a conscious effort to make this version stand alone, whilst the main story elements are the same, it would;t be the same without the final showdown which was shaken up and completely different. I didn’t feel the terror at the transformed man, maybe it was the snow that soften it, not as dramatic as the rain on the soaked ground. Again I have to see for myself. It was however interesting to see once more the relationship between American and Japanese cinema. Before it was Kurosawa‘s Yojimbo (1961) and Seven Samurai (1954), who influenced Sergio Leone and John Sturges The compliment is being returned from Clint Eastwood by Sang-il Lee.
Moving onto or backwards to the original as directed by Clint Eastwood I found myself understanding both in greater detail and his own observations of the western as a genre, how it formed. The violence of the west and the gunfighter which has recently seen his latest film American Sniper (2014) becoming the most successful war film of all time (probably to be beaten later his year). Focusing always on the man behind the violence, not the act itself, what drives man/person to act in such a brutal and dangerous way toward others. Scaring those around you, in order to have power, dominance, material wealth, and self-confidence.
When a man gives up that violence as we find with both Jubei and William Munny they are tamed by wires who have died by the time we meet them. Now a shadow of their former self’s, trying to do good by their family. Before we have seen the lone gunfighter’s come into town, not looking for a fight, always walking into it by the films end. Which happens here in great style. And in great tradition of the aged gunfighter Eastwood carries that on, in his last western role, becoming then too old to really so it justice. I can see strokes of El Dorado (1966), The Gunfighter (1950) and The Shootist (1976) they are no longer the young men they once were, struggling to get on a horse or even walk without some ailment holding them back. Time is their only true enemy. Munny is no longer able to shoot straight without changing weapon at least once.
The legend of the gunfighter and the west itself it question the form of travelling writer/biographer W.W. Beauchamp (Saul Rubinek) who arrives with English Bob (Richard Harris) one of the last great gunfighter’s who legend is bigger than himself. A status constructed by the writer and a lot of creative license to mythologize the untamed west, glorifying a man to become more than his actions. Creating a history that sells to the masses, attracting tourism and money. The very foundations of the genre, which can sometimes be based more on fact if in the right hands. Beauchamp spends most of his time discussing the events of English Bob’s gunfights with Daggett who puts the writers book to shame, the truth behind the legend which. The facts are sometimes harder to swallow than fictions. We discover that the man now in jail had only survived so long was down to pure luck Drawing your gun first was never a sure way to win a gunfight, it takes skill and thinking to win at a draw. Draw your gun first as your aim is not always right, giving the other a chance. Add to that the alcoholic element for Bob who is painted in a far darker insidious light, is more malicious in his killings. Not the brave man who saved the day, more of a lucky drunk who could’t stop shooting. The skill of the gunfighter in the pages of dime novels or the screen is a romanticised vision of an age of survival; kill or be killed.
This is also a macho trait which we find in the youngest of the two men in ride with Munny to avenge the prostitute. The ‘Schofield Kid’ (Jaimz Woolvett) creates his own legend, first recruiting Munny to join him on what could be an adventure, a quick job that itself had been blown out of proportion. Stating that he has killed 5 men before they start even begin, knowing his youth is holding him back to match Munny’s record which is never really totted up. A very masculine trait to “big” yourself up to look and feel better, reputation is a very important part of masculinity. This doesn’t wash with Munny who eventually joins up with on friend Ned Logan (Morgan Freeman) who then all join up. I can see even at the start, the subtle changes that were made between this and the Japanese remake to have its own identity, to not just be a scene for scene copy unlike I Died a Thousand Times (1955) which allows it to be the same in terms of structure whilst having its own identity, its own culture.
Both have these built-in myths of past fighters, with swords or guns who have had great battles which have been constructed around the events which were probably bloody and full of horror, alcohol, and fear. If you deconstruct both films down to their main points we have a male figure who has lead a violent life, which has a built in legend and reputation that others have built up and admired. Without the facts to hand we have no idea what really happened, the trauma, the horror, more importantly the shame they now carry with them. I remember from my first review a few years back of the Eastwood original I focused on how the violence in a man can be tamed or even suppressed, able to reform. Until it’s triggered we don’t know how dangerous we can still. Eastwood’s gunfighter will always be more terrifying cinematically, probably because I am a great western fan than of samurai which is almost equal in its horror of the slaughter of the men. The changing of the end is what I was most critical of, going for the sherif first was a wrong footing, the main villain is always killed last.
Whatever these two films are, they do carry on that great tradition of that American/Japanese cinematic relationship of informing each others story telling. Showing the western is not dead and both countries have very different but similar histories which at the heart of human. All cultures create legends out of historical figures from moments they would sooner forget.
- Unforgiven (2013) (disasteryear20xx.blogspot.co.uk)
- Unforgiven (2013, Japanese) (yacowar.blogspot.co.uk)
- Unforgiven (1992) (rogersworst.blogspot.co.uk)
- Sound in Unforgiven (1992) (tdf165.wordpress.com)
- 4. Unforgiven (1992) (maltinsworstratings.blogspot.co.uk)
- Unforgiven (1992) (haksreviews.blogspot.co.uk)
- Unforgiven (1992) (coffeebeancinema.blogspot.co.uk)
- Unforgiven (1992) (unitedstatesofcinema.blogspot.co.uk)