Drama · LGBT & Queer · Men & Masculinity · Westerns
Though the possible motivations behind Ford’s deep admiration for James have been a topic of debate since the film’s release, little attention, unfortunately, has been paid to the shared relationship[…]
Colonialism · Historical & Epic · Music & Musicals · Myth and Archetype · Native Americans · Westerns
The handful of “frontier operas” we’ll consider therefore propose an unusual dialectic of both aesthetics and ideology. What might occur when male Western heroes – traditionally stoic and pragmatic –[…]
Absurdism · African American · Horror · Surrealism · Westerns
The theme of exploitation is evident in Nope’s multiple references to a classic film. Not Jaws, The Goonies, or Close Encounters, or any of the Western films nodded at in[…]
Comedy · Historical & Epic · Native Americans · Revisionism · Westerns
Buffalo Bill and the Indians joins a select group of films whose popular failure nonetheless represented an aesthetic success: Patty Hearst (1987) and The King of Comedy (1983), come to[…]
Essays · Hollywood · Literature and Film · Westerns
There is almost certainly nowhere in America, probably even the Western world, as infamous for its venality and ambiguities than Didion’s home for three decades: Hollywood, Los Angeles. In Once[…]
Drama · Essays · Literature and Film · Westerns
We must dissect why Hud succeeded with reviewers and audiences alike, but to differing effects. The task at hand is not merely to provide a clear analysis of the issues[…]
Activist & Political · Brazilian Cinema · Indigenous · SF & Fantasy · Westerns
When I watched Bacurau again this summer online, so much felt different: the open-air communal life of the villagers seemed even more distant and utopian; after months of Brazil’s president[…]
Horror · Mystery · SF & Fantasy · Westerns
The Thing and The Hateful Eight’s analogous narratives speak to broader philosophical notions of selfhood and knowledge of others. Their thematic undercurrents explore the forever-complicated terrain of what it means[…]
Comedy · Counterculture · Crime · Historical & Epic · Hollywood · Movies · Westerns
Who are these people? Watching Cliff try to figure it out is painful, because we know the future, but such knowledge is not power. Within its imagined boundaries, Once Upon[…]
Martyrdom suits Brown’s purpose, and it is in this extremism that he is ultimately un-American. His cause may be morally right but his attempt to impose it is not; the[…]
The characters’ fates are determined more by chance than by anything else, so pursuing justice in Unforgiven is about as futile as fighting an organized battle in Good Bad Ugly.[…]
Some actors’ gestures are the equivalent of a great singer, dancer, or athlete achieving the heights of their profession. And the reason so many people respond to Ford’s films by[…]
African American · Essays · Historical & Epic · Westerns
“We are not enemies, but friends. We must not be enemies. Though passion may have strained, it must not break our bonds of affection. The mystic chords of memory will[…]
Actors & Personalities · Reviews · TV & Streaming · Westerns
Today is actor Richard Boone’s birthday (June 18, 1917 – January 10, 1981). We’re celebrating it by reprinting Alan Vanneman’s pithy write-up (previously published in issue 48, May 2005) of[…]
Actors & Personalities · Reviews · Westerns
O to be torn, ‘twixt love and duty
“Is emotional capacity, as figured by film, an entity of fixed dimension, so that if men are represented as more caring, women must be represented as caring less?”
Directors · Genres · Noir · Westerns
“Mann’s 1950 threesome — The Devil’s Doorway, Winchester ’73, The Furies — was the most auspicious quantum jump by an American director since John Ford’s equivalent Americana triumvirate of 1939 (Stage Coach, Young Mr. Lincoln, Drums Along the Mohawk) lifted him into the major phase of his career. Yet Mann’s achievements seem destined to remain unappreciated and the director himself obscure.”
“The sheer physical immensity of this space threatens to hijack everything else in the film, and it’s a testament to Reichardt’s directorial intelligence that she lets it, and that she makes it work as part of a larger project.”
