The Return of the Soldier sounds like a novel at odds with its society. Take this early description of Baldry Court, the house to which the titular soldier, Chris Baldry, must soon return:. This prose feels as richly decorated as the house itself, garlanded with sub-clauses, well-chosen adjectives and carefully sculpted metaphors. Jenny presents herself as orderly, decorous and careful. A woman who has definite ideas about good taste, style and class — and how to represent them.
Retrieved 31 May And there was to be blood. Notify me of new comments via email. Everson Russell are two artists who captured the "Wild West" on canvas.
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Western is a genre of fiction incorporating Western lifestyle which tell stories set primarily in the latter half of the 19th century in the American Old West , often centering on the life of a nomadic cowboy or gunfighter  armed with a revolver and a rifle who rides a horse.
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And in a nod to Brecht, Lang eschews straightforward naturalism, foregrounding the music as a narrative device. Damon Wise. Wyatt Earp later worked as a Hollywood consultant and Robert Ford became famous for shooting an outlaw in the back. The Assassination of Jesse James by the Coward Robert Ford is a brilliant movie about violence and celebrity, the two founding myths of America. It is directed by a poetic grace and precision by Andrew Dominick and charts the last days of the notorious train robber, who knows his days are numbered and that the noose is closing in.
In the wake of what would turn out to be his last heist, in Blue Cut, Missouri, Jesse James Brad Pitt returns to his hometown of Kansas City, with the straggling remnants of his gang at his heels. He is in his mids but he feels older, like a watchful grey wolf sniffing at the air for the first scent of trouble. Then into the mix comes Ford a superb performance from Casey Affleck , clamouring to join the gang and desperate to impress his betters. Ford is gawky, awkward, unstable; a nightmarish fanboy who has arrived a century ahead of time.
The gang is becalmed, the house is too full and the tempers are fraying. In the meantime, James parks himself at the kitchen table and tests the atmosphere in the room.
Has the outlaw now become too jaded and exhausted to ensure his own safety? James has one foot through the exit door and the manner of his departure may be the one last thing that he can control. He is grooming his own killer in order to write his own legend. Xan Brooks. The best westerns are about changing times, warring ideologies and the ruthless march of progress, so it was fitting that Red River pitted the Hollywood old guard against the new. Wayne headlines as Thomas Dawson, tough and unyielding, while Clift in his film debut co-stars as Matt Garth, his sensitive adoptive son, who challenges his authority and possibly points the way to the future.
And yet, fortuitously, Red River seemed to thrive on the friction. In the clash between bullish Dawson and resolute Garth we have the sense of two very different men, two very different worldviews and, by implication, two very different Americas vying for supremacy. This is not so much how the west was won. Cooper stars as retiring marshall Will Kane, who is about to leave town when he hears that his nemesis, Frank Miller Ian MacDonald , has been reprieved from death row and is arriving on the noon train.
Kane considers leaving with his newly-wedded wife Amy Grace Kelly , but instead decides to stand his ground. Amy gives him a second ultimatum - she wants him with her on the noon train out - and so the minute countdown begins. Nevertheless, it remains an extraordinarily tense piece of film-making that works perfectly, featuring a suitably solemn Oscar-winning song of the same name by Tex Ritter.
Last but not least - always a sign of a really great movie - it was even remade in space, as Outland. His fickle quill transcribes history, embellishing the truth. And it is his hyperbole that the film sets out to correct. How the West was Spun would have sufficed. The disparity between fact and fiction runs through the movie. A cocky young fighter named the Schofield Kid Jaimz Woolvett cannot actually see beyond the end of his revolver. Meanwhile, Munny is tempted out of retirement when he hears that the prostitute has had her eyes scooped out, and her body mutilated.
Indeed, Ned Morgan Freeman dithers over the trigger even as he has his quarry squarely in his sights, and is unable to fire the fatal bullet. The Schofield Kid suffers crippling pangs of conscience after his first murder. Robert Altman was nothing if not an iconoclast. One of his greatest talents was to reinforce genre by dismantling and even undermining it. It was like trying to get an out of focus picture into focus.
And yet this barely-audible, filthy-looking movie is a work of towering beauty, eroticism and pain. The western genre benefited from this morphine-shot of grubby poetic realism.
It is the mother of all buddy movies. Or should that be the father of all bromances? Paul Newman and Robert Redford play it loose and for big laughs as affable outlaws Butch Cassidy and Sundance in this classic western comedy. Butch never shot a man. They get the hell out of there, to Bolivia, where robbing banks is easy — so long as you can remember the words in Spanish.
Today, it has weathered splendidly, and we can enjoy it as a movie of its time as much anything else: for its laidback late 60s-ness, with Butch and Sundance a couple of hipsters for whom the worst crime of all would be looking like they are trying too hard. Some of the biggest laughs are at the expense of the conscientious railroad book-keeper Woodcock, who would rather be blown to smithereens than open the safe — a total square.
Cath Clarke. And why? It is the portrait of an American hero possessed of all the virtues of frontier honour and self-reliance, who is also a flat-out exterminatory racist and white supremacist, a man driven to the brink of insanity by his fear of racial impurity.
And the movie never sits still, piling one bravura sequence upon another — family reunion, Indian murder raid, pitched battles, fraternal fist fights, heartbreaking sadness, all against the forbidding grandeur of Monument Valley and the south-western desert — and never once losing its vicelike grip on the audience.
John Patterson. Director Sam Peckinpah was considered a spendthrift, a loose cannon, and a failure by the time he shot The Wild Bunch in His last feature, Major Dundee, had been an acrimonious experience. It had been released in a brutally truncated and mutilated form to middling reviews.
Offered the screenplay for The Wild Bunch, he tore it apart with a vengeance, retrofitting it to accommodate his own key concerns and themes: men out of time facing obsolescence and death it could easily be called No Country for Old Men ; violence as a ballet of brutality; and corruption as all-encompassing, with every transaction, be it moral, monetary or sexual, deeply stained by betrayal.
And there was to be blood. He also revolutionised film editing, shooting his many, violent action set-pieces with multiple cameras and viewpoints, running the cameras at different speeds, from 60 to frames a second, after seeing what editor Lou Lombardo had achieved with similar effects on earlier projects.
But there it is, routinely counted among the greatest westerns ever made. And rightly so. If that all sounds a little dry to you, then Leone knew enough to cast his movie with icons of the genre, including rising star Charles Bronson in the no-name lead role and Jason Robards as comic relief.
Legend has it Fonda, preparing for his first evil role, showed up on set wearing a bandito mustache and half rolling his eyes. And opera? Top 10 action movies.
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Western Slang, Lingo, and Phrases – A Writer’s Guide to the Old West – Page 13 – Legends of America
To know, to comprehend. To come to the scratch. Also means to spur a horse. Also means salary, wages. Also means a jailer, turnkey, or prison warden. Originated from common window panes of that size.
To take a shine to a person, is to take a fancy to him or her. To cut or make a shine, is to make a great display. Also means to turn aside, or start, as a horse, to sheer. And means, to hang about. Usually applied to people who were prim, formal, or stuffy.
Sometimes also used to indicate cheap wall paint. These small fries are up to no good behind the barn, photo by E. Kelley, Used in the interior of the Western States.
A vulgar Western term. Probably first served on a trail drive using the ingredients at hand. Was often used to open bank vault. In mining and Old West slang, a sourdough was an experienced prospector, or a veteran in his field..