list http://www.spout.com/ Recent community activity around Shane on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Shane/30883/default.aspx Title: Shane
Year: 1953
Director: George Stevens
Plot: The simple story of a Wyoming range war is elevated to near-mythical status in producer/director George Stevens' Western classic Shane. Alan Ladd plays the title character, a mysterious drifter who rides into a tiny homesteading community and accepts the hospitality of a farming family. Patriarch Joe Starrett (Van Heflin) is impressed by the way Shane handles himself when facing down the hostile minions of land baron Emile Meyer, though he has trouble placing his complete trust in the stranger, as his Marion (Jean Arthur) is attracted to Shane in spite of herself, and his son Joey (Brandon de Wilde) flat-out idolizes Shane. When Meyer is unable to drive off the homesteaders by sheer brute strength, he engages the services of black-clad, wholly evil hired gun Jack Wilson (Jack Palance). The moment that Wilson shows he means business by shooting down hotheaded farmer Frank Torrey (Elisha Cook Jr.) is the film's most memorable scene: after years of becoming accustomed to carefully choreographed movie death scenes, the suddenness with which Torrey's life is snuffed out -- and the force with which he falls to the ground -- are startling. Shane knows that a showdown with Wilson is inevitable; he also knows that, unintentionally, he has become a disruptive element in the Starrett family. The manner in which he handles both these problems segues into the now-legendary "Come back, Shane" finale. Cinematographer Loyal Griggs imbues this no-frills tale with the outer trappings of an epic, forever framing the action in relation to the unspoiled land surrounding it. A.B. Guthrie Jr.'s screenplay, adapted from the Jack Schaefer novel, avoids the standard good guy/bad guy clichés: both homesteaders and cattlemen are shown as three-dimensional human beings, flaws and all, and even ostensible villain Emile Meyer comes off reasonable and logical when elucidating his dislike of the "newcomers" who threaten to divest him of his wide open spaces. ~ Hal Erickson, All Movie Guide
Times Tagged: 15
Number of Lists: 18
Number of blog posts: 5
Number of discussion threads: 3
SpoutRating: 3
]]>Thu, 25 Jun 2009 02:38:13 GMTShane1953George StevensThe simple story of a Wyoming range war is elevated to near-mythical status in producer/director <a href="/players/P___118815/default.aspx" style='text-decoration:underline'>George Stevens</a>' Western classic Shane. <a href="/players/P____39951/default.aspx" style='text-decoration:underline'>Alan Ladd</a> plays the title character, a mysterious drifter who rides into a tiny homesteading community and accepts the hospitality of a farming family. Patriarch Joe Starrett (<a href="/players/P____31516/default.aspx" style='text-decoration:underline'>Van Heflin</a>) is impressed by the way Shane handles himself when facing down the hostile minions of land baron Emile Meyer, though he has trouble placing his complete trust in the stranger, as his Marion (<a href="/players/P_____2459/default.aspx" style='text-decoration:underline'>Jean Arthur</a>) is attracted to Shane in spite of herself, and his son Joey (<a href="/players/P____87261/default.aspx" style='text-decoration:underline'>Brandon de Wilde</a>) flat-out idolizes Shane. When Meyer is unable to drive off the homesteaders by sheer brute strength, he engages the services of black-clad, wholly evil hired gun Jack Wilson (<a href="/players/P____54755/default.aspx" style='text-decoration:underline'>Jack Palance</a>). The moment that Wilson shows he means business by shooting down hotheaded farmer Frank Torrey (Elisha Cook Jr.) is the film's most memorable scene: after years of becoming accustomed to carefully choreographed movie death scenes, the suddenness with which Torrey's life is snuffed out -- and the force with which he falls to the ground -- are startling. Shane knows that a showdown with Wilson is inevitable; he also knows that, unintentionally, he has become a disruptive element in the Starrett family. The manner in which he handles both these problems segues into the now-legendary "Come back, Shane" finale. Cinematographer <a href="/players/P____92612/default.aspx" style='text-decoration:underline'>Loyal Griggs</a> imbues this no-frills tale with the outer trappings of an epic, forever framing the action in relation to the unspoiled land surrounding it. A.B. Guthrie Jr.'s screenplay, adapted from the Jack Schaefer novel, avoids the standard good guy/bad guy clichés: both homesteaders and cattlemen are shown as three-dimensional human beings, flaws and all, and even ostensible villain Emile Meyer comes off reasonable and logical when elucidating his dislike of the "newcomers" who threaten to divest him of his wide open spaces. ~ Hal Erickson, All Movie Guide15Tag Target (>10)18533http://www.spout.com/ProductImages/t07544yahix.jpghttp://www.spout.com/films/Shane/30883/default.aspxFilm http://www.spout.com/blogs/pippin06/archive/2009/11/23/44408.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 11/23/2009 12:30:07 AM
Body: What's the AFI project, you ask? For more information, or if you just enjoy my bemused ramblings, read here:http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Shane is on the following AFI lists: The Original Top 100 (#69)100 Years...100 Heroes and Villains (Shane is the #16 hero)100 Movie Quotes (#47 - Joey Starrett: "Shane. Shane. Come back!")100 Most Inspiring Movies (#53)The Revised Top 100 (#45)10 Top 10's (#3 Western) I knew nothing about Shane prior to ordering it up from the magical Netflix queue. Since it’s a western, and since, as most loyal readers of this blog know, westerns constitute my least favorite genre of film, my anecdotal knowledge of anything involving cowboys and gunfights and covered wagons in film is pretty limited, even if it’s a film that is considered great by the American Film Institute. So, anytime I watch one of the westerns on the lists, I must actively work to moderate my bias against the genre in order to enjoy the film, unless the film is just so wonderful, no moderation is needed. Shane is supposed to be one such film, but I was not so convinced this time around. Alan Ladd plays the title character, a drifter with a checkered past who happens upon the Wyoming farm of the Starrett family. The patriarch, Joe (Van Heflin), hires Shane on as a ranch-hand, especially when he shows pluck in standing up to land baron Rufus Ryker (Emile Meyer) and his lackeys. Ryker has been threatening to upend ranch-owners across the valleys in hopes of adding their claims to his own, and Starrett and his friends have been trying to organize resistance, for which Joe sees muscular and steady Shane as a perfect addition to the cause. Shane’s presence leads to unintended side effects, however. First, Joe’s son, Joey, idolizes Shane more than his own father, urging Shane to teach him how to shoot a gun and generally gravitating toward him as a father figure more than his otherwise beleaguered actual father. Joe’s wife, Marian (Jean Arthur), on the other hand, seems to be attracted to Shane more than her own husband, in spite of her love and loyalty to Joe. When Ryker is unable to scare the ranchers off their land by intimidation and strength alone, he enlists the help of a hired gun, Jack Wilson (Jack Palance), an infamous sharpshooter with an itchy trigger-finger and a no-holds-barred attitude toward his mercenary work, about whom Shane has some surprising knowledge. Wilson's presence incites war amongst the homesteaders, and Shane finds himself confronting his past and fighting for the ranchers, even as he realizes that he and his past have only served to disrupt the lives of the Starretts and their neighbors. Apparently, Shane is one of those westerns that are considered an essential entry in the canon of the genre - a widely accepted "great" exemplar of the formula of good versus evil set against a backdrop of wild, unexplored and largely unsettled territory and fraught with guns and horses and salty men defending their land and their families. Truthfully, Shane has some refreshing twists that other, more formulaic westerns do not share. The heroes and villains of this piece are much more gray and blurry and morally ambiguous than typically found in films of this genre. Shane's past, which is largely kept a mystery, or, at least, a hazy idea until the very end of the film, shows that he is not necessarily the ultimate in honorable men. Joe, the everyman fighting for his right to live, is moved to up the ante of his fight to violence, and even the land barons and hired help have a darker if not entirely unconvincing philosophy about the state of their surroundings. Some of the reviews on this page call this plot more meaningful because of its intelligence in focusing on the homesteader movement of that era and the blurring of the lines between the traditional good and evil, and, to that end, Shane definitely proved to be interesting, if not highly entertaining. Alan Ladd also gave a wonderful, understated performance as the titular character. His reserve and quiet nature were played delicately by Ladd, and when the director, George Stevens, allowed for this character to betray some of the inner turmoil and conflicting emotions with which Shane was clearly faced, Ladd was equal to the task. Still, this was not my favorite western, much less my favorite film. I found most of the supporting performances to be exceptionally ham-fisted and melodramatic. Jean Arthur, who has been in many good films, including Mr. Smith Goes to Washington, did not seem to infuse her performance and portrayal of Marian with the emotional punch that the presence of Shane apparently caused for her. The villains, including the inimitable Jack Palance, seemed so cookie-cutter in their way, even as they were complex, that I found them less than menacing - more of a nuisance than an all-out threat. The child - character or actor or both - was simply annoying and overly theatrical. He was not a very natural actor but may have been a product of the time at which the film was made; after all, most 50s films and television featured precocious yet dutiful children with a penchant for the melodramatic. I think the best part of Shane was some of the grittier realism that was offered, particularly within the actual fighting scenes. The fistfight between Shane and Ryker's lackeys was actually kind of exciting. Also, there is a scene when Wilson shoots one of Joe's compatriots, one of the more zealous members of the cause who decides to take on the bad guys alone and ends up the worse for it. The manner of his death was quite shocking and actually caught this viewer by surprise. It appeared to be quite a pioneering scene, and whether it was or not, director Stevens did a fine job in increasing the tension of the picture in this one moment, even as the rest of the film's pacing tended to plod along. I think I was most frustrated with the fact that Shane's character was such a mystery, considering that the film was supposed to be all about him. Instead, the film seemed to focus more on the effect he had on this family rather than his personal motivations or convictions, and while these elements were sometimes brought to the forefront, they most of the time were left buried beneath the surface. Perhaps, some viewers find this an effective storytelling technique (the AFI, after all, ranked this film 24 spots higher on its revised list for reasons I can't quite fathom), but for me, it served to disconnect me from the character. If it weren't for Ladd's performance, I might have become disinterested altogether in the whole affair, given the fact that Shane's particular story was told only in hints and allegations. As it was, I had a hard time feeling for little Joey when he was crying "Come back, Shane!" All in all, maybe this was a great film, and my bias against westerns has prevented me from seeing how or why. The trouble is, I've liked the other westerns I've seen so far while working on this project, including High Noon and Stagecoach and Butch Cassidy. This film just didn't do it for me, even though I can see how it might have power and epic scope to some viewers. As for my rating, I am inclined to award Shane a 6.5 between cute/mediocre and shaky/entertaining. There are some great artistic elements about the film and some entertaining moments, but all in all, I felt the film was slow and melodramatic. Thus, the test does not pass. Now, gentle reader, though you may disagree with my review of Shane, a fan of westerns might truly enjoy the film. I am prepared to accept that my bias played a role here. I guess I'd have to hear why this film is such a great western or film in general from someone who does not have the same bias. Feel free to comment with your thoughts.
]]>Mon, 23 Nov 2009 05:30:07 GMTpippin06Reel Thoughts11/23/2009 12:30:07 AM What's the AFI project, you ask? For more information, or if you just enjoy my bemused ramblings, read here:http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Shane is on the following AFI lists: The Original Top 100 (#69)100 Years...100 Heroes and Villains (Shane is the #16 hero)100 Movie Quotes (#47 - Joey Starrett: "Shane. Shane. Come back!")100 Most Inspiring Movies (#53)The Revised Top 100 (#45)10 Top 10's (#3 Western) I knew nothing about Shane prior to ordering it up from the magical Netflix queue. Since it&rsquo;s a western, and since, as most loyal readers of this blog know, westerns constitute my least favorite genre of film, my anecdotal knowledge of anything involving cowboys and gunfights and covered wagons in film is pretty limited, even if it&rsquo;s a film that is considered great by the American Film Institute. So, anytime I watch one of the westerns on the lists, I must actively work to moderate my bias against the genre in order to enjoy the film, unless the film is just so wonderful, no moderation is needed. Shane is supposed to be one such film, but I was not so convinced this time around. Alan Ladd plays the title character, a drifter with a checkered past who happens upon the Wyoming farm of the Starrett family. The patriarch, Joe (Van Heflin), hires Shane on as a ranch-hand, especially when he shows pluck in standing up to land baron Rufus Ryker (Emile Meyer) and his lackeys. Ryker has been threatening to upend ranch-owners across the valleys in hopes of adding their claims to his own, and Starrett and his friends have been trying to organize resistance, for which Joe sees muscular and steady Shane as a perfect addition to the cause. Shane&rsquo;s presence leads to unintended side effects, however. First, Joe&rsquo;s son, Joey, idolizes Shane more than his own father, urging Shane to teach him how to shoot a gun and generally gravitating toward him as a father figure more than his otherwise beleaguered actual father. Joe&rsquo;s wife, Marian (Jean Arthur), on the other hand, seems to be attracted to Shane more than her own husband, in spite of her love and loyalty to Joe. When Ryker is unable to scare the ranchers off their land by intimidation and strength alone, he enlists the help of a hired gun, Jack Wilson (Jack Palance), an infamous sharpshooter with an itchy trigger-finger and a no-holds-barred attitude toward his mercenary work, about whom Shane has some surprising knowledge. Wilson's presence incites war amongst the homesteaders, and Shane finds himself confronting his past and fighting for the ranchers, even as he realizes that he and his past have only served to disrupt the lives of the Starretts and their neighbors. Apparently, Shane is one of those westerns that are considered an essential entry in the canon of the genre - a widely accepted "great" exemplar of the formula of good versus evil set against a backdrop of wild, unexplored and largely unsettled territory and fraught with guns and horses and salty men defending their land and their families. Truthfully, Shane has some refreshing twists that other, more formulaic westerns do not share. The heroes and villains of this piece are much more gray and blurry and morally ambiguous than typically found in films of this genre. Shane's past, which is largely kept a mystery, or, at least, a hazy idea until the very end of the film, shows that he is not necessarily the ultimate in honorable men. Joe, the everyman fighting for his right to live, is moved to up the ante of his fight to violence, and even the land barons and hired help have a darker if not entirely unconvincing philosophy about the state of their surroundings. Some of the reviews on this page call this plot more meaningful because of its intelligence in focusing on the homesteader movement of that era and the blurring of the lines between the traditional good and evil, and, to that end, Shane definitely proved to be interesting, if not highly entertaining. Alan Ladd also gave a wonderful, understated performance as the titular character. His reserve and quiet nature were played delicately by Ladd, and when the director, George Stevens, allowed for this character to betray some of the inner turmoil and conflicting emotions with which Shane was clearly faced, Ladd was equal to the task. Still, this was not my favorite western, much less my favorite film. I found most of the supporting performances to be exceptionally ham-fisted and melodramatic. Jean Arthur, who has been in many good films, including Mr. Smith Goes to Washington, did not seem to infuse her performance and portrayal of Marian with the emotional punch that the presence of Shane apparently caused for her. The villains, including the inimitable Jack Palance, seemed so cookie-cutter in their way, even as they were complex, that I found them less than menacing - more of a nuisance than an all-out threat. The child - character or actor or both - was simply annoying and overly theatrical. He was not a very natural actor but may have been a product of the time at which the film was made; after all, most 50s films and television featured precocious yet dutiful children with a penchant for the melodramatic. I think the best part of Shane was some of the grittier realism that was offered, particularly within the actual fighting scenes. The fistfight between Shane and Ryker's lackeys was actually kind of exciting. Also, there is a scene when Wilson shoots one of Joe's compatriots, one of the more zealous members of the cause who decides to take on the bad guys alone and ends up the worse for it. The manner of his death was quite shocking and actually caught this viewer by surprise. It appeared to be quite a pioneering scene, and whether it was or not, director Stevens did a fine job in increasing the tension of the picture in this one moment, even as the rest of the film's pacing tended to plod along. I think I was most frustrated with the fact that Shane's character was such a mystery, considering that the film was supposed to be all about him. Instead, the film seemed to focus more on the effect he had on this family rather than his personal motivations or convictions, and while these elements were sometimes brought to the forefront, they most of the time were left buried beneath the surface. Perhaps, some viewers find this an effective storytelling technique (the AFI, after all, ranked this film 24 spots higher on its revised list for reasons I can't quite fathom), but for me, it served to disconnect me from the character. If it weren't for Ladd's performance, I might have become disinterested altogether in the whole affair, given the fact that Shane's particular story was told only in hints and allegations. As it was, I had a hard time feeling for little Joey when he was crying "Come back, Shane!" All in all, maybe this was a great film, and my bias against westerns has prevented me from seeing how or why. The trouble is, I've liked the other westerns I've seen so far while working on this project, including High Noon and Stagecoach and Butch Cassidy. This film just didn't do it for me, even though I can see how it might have power and epic scope to some viewers. As for my rating, I am inclined to award Shane a 6.5 between cute/mediocre and shaky/entertaining. There are some great artistic elements about the film and some entertaining moments, but all in all, I felt the film was slow and melodramatic. Thus, the test does not pass. Now, gentle reader, though you may disagree with my review of Shane, a fan of westerns might truly enjoy the film. I am prepared to accept that my bias played a role here. I guess I'd have to hear why this film is such a great western or film in general from someone who does not have the same bias. Feel free to comment with your thoughts. http://www.spout.com/blogs/risselada/archive/2009/4/16/41621.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 4/16/2009 12:35:16 PM
Body: This blog entry is part of my "movie year countdown round #2". Read more about that here. Shane Shane is a legendary name in the history of Westerns, so I had to see it. It took me a while to get into it though. Jean Arthur bored me here actually and I usually get annoyed by prominent kids in movie like this sometimes. Maybe I just don't like kids and this is my personal issue. But I get annoyed with sweet and precocious kids in films. I'm actually more amused and even empathetic to kids in movies that are more dim and pathetic. Take the fat kid in Bad Santa or any of the kids in Welcome to the Dollhouse for instance. Anyways I know this was a totally different kind of movie from a different era, but I just wanted to express that. Shane became more interesting to me as it went along. I was glad when Elisha Cook Jr. showed up. It's always good to see him in a film. But it was at the point of the bar fight that I really took interest. This is one of the best bar fights I've seen in a movie. I'm interested in good movie bar fights. Refer to Tokyo Drifter and The Ninth Configuration for some examples of some other favorites of mine. I know bar fights are often a staple of westerns but this one was pretty exciting! Anyways, yeah, it's a pretty good flick. Rating: 8/10
]]>Thu, 16 Apr 2009 16:35:16 GMTRisseladaRisselada Blog4/16/2009 12:35:16 PMThis blog entry is part of my "movie year countdown round #2". Read more about that here. Shane Shane is a legendary name in the history of Westerns, so I had to see it. It took me a while to get into it though. Jean Arthur bored me here actually and I usually get annoyed by prominent kids in movie like this sometimes. Maybe I just don't like kids and this is my personal issue. But I get annoyed with sweet and precocious kids in films. I'm actually more amused and even empathetic to kids in movies that are more dim and pathetic. Take the fat kid in Bad Santa or any of the kids in Welcome to the Dollhouse for instance. Anyways I know this was a totally different kind of movie from a different era, but I just wanted to express that. Shane became more interesting to me as it went along. I was glad when Elisha Cook Jr. showed up. It's always good to see him in a film. But it was at the point of the bar fight that I really took interest. This is one of the best bar fights I've seen in a movie. I'm interested in good movie bar fights. Refer to Tokyo Drifter and The Ninth Configuration for some examples of some other favorites of mine. I know bar fights are often a staple of westerns but this one was pretty exciting! Anyways, yeah, it's a pretty good flick. Rating: 8/10 http://www.spout.com/groups/Filmgaming/Re_APPALOOSA_DVD_Giveaway/563/39574/1/ShowPost.aspx Post By: leeroy711
Post To: Filmgaming
Post Date: 1/15/2009 6:02:17 PM
Body: Well, two people have allready stolen my favorite, Liberty Valance idea. I would have to say............. Shane could still make a good remake. I think getting Alan Ladd replaced would be kinda hard. I don't know.. maybe Paul Rudd could be good. They both have names that end with the double d.
]]>Thu, 15 Jan 2009 23:02:17 GMTleeroy711Filmgaming1/15/2009 6:02:17 PMWell, two people have allready stolen my favorite, Liberty Valance idea. I would have to say............. Shane could still make a good remake. I think getting Alan Ladd replaced would be kinda hard. I don't know.. maybe Paul Rudd could be good. They both have names that end with the double d. http://www.spout.com/groups/Movie_Games/Cause_Effect/598/32755/1/ShowPost.aspx Post By: theunemployedshortstop
Post To: Movie Games
Post Date: 7/19/2008 5:02:51 AM
Body: An interesting thing happens when you study the arc of Westerns: one narrative template begins to inform the next. An example: The cattle drivers tame the land and pave the trails at the end of Red River. However ten years later those same cattle drivers are the jerks kicking the Homesteaders off of "their land" in Shane. A supposed "happy ending" results in a very real problem. Name a happy ending from one movie (the cause) and how it informs the problem of a second film (the effect). Like this: Sure the rebels win at the end of Return of the Jedi. But then what? The land is now lawless. Tribes will begin to splinter and argue over the new law. Power must be consolidated to ovoid further conflict. In the wake of war will the war hero remain noble or give in to the dark side and take advantage of the war torn lands... which is the plot to MacBeth (although I prefer Throne of Blood). Be as creative as you can! Show us how that happy ending actually has unforeseen consequences. Cause & Effect!
]]>Sat, 19 Jul 2008 09:02:51 GMTtheunemployedshortstopMovie Games7/19/2008 5:02:51 AMAn interesting thing happens when you study the arc of Westerns: one narrative template begins to inform the next. An example: The cattle drivers tame the land and pave the trails at the end of Red River. However ten years later those same cattle drivers are the jerks kicking the Homesteaders off of "their land" in Shane. A supposed "happy ending" results in a very real problem. Name a happy ending from one movie (the cause) and how it informs the problem of a second film (the effect). Like this: Sure the rebels win at the end of Return of the Jedi. But then what? The land is now lawless. Tribes will begin to splinter and argue over the new law. Power must be consolidated to ovoid further conflict. In the wake of war will the war hero remain noble or give in to the dark side and take advantage of the war torn lands... which is the plot to MacBeth (although I prefer Throne of Blood). Be as creative as you can! Show us how that happy ending actually has unforeseen consequences. Cause &amp; Effect! http://www.spout.com/groups/Filmgaming/Re_A_new_pack_of_RESERVOIR_DOGS_1992/563/32750/1/ShowPost.aspx Post By: theunemployedshortstop
Post To: Filmgaming
Post Date: 7/18/2008 9:44:33 PM
Body: The Epic Tale of "The Wolves of Gomorrah Gorge." The Conceit: Due to a trans-dimensional rift caused by the AWESOMENESS of the Inglorious Bastards screenplay Quentin Tarantino is able to jump into a dimension where the world is perpetually in the early fifties. The impish auteur (also great collaborator) is eager to see what some of his favorite directors and writers would do with his material. He gives a vague outline of Reservoir Dogs to Carl Foreman. Bitter over the HUAC hearings of 1947, Forman takes the idea of the mole cop and turns it into a commentary on witch hunting (like the Crucible set in the American West… with action and no weeping, whining, or three hour yawn-fest… just kidding). Production: The studio loved the concept and saw Anthony Mann as the director. His surprising presentation of the morally grey double agents in T – Men and his success as a visual director of both noir and westerns would yield a fantastic visual motif. Foreman set the film in an abandoned camp… rumored to have once been a lush valley, the area is now a barren gorge of salt (Hence Gomorrah Gorge though the studio would want to back off of this title… hence the title of Guthrie's song). Mann shot the film in the Colombia River Gorge and the surrounding desert like region of Eastern Washington. It was more visually arresting than the Rocky Mountain back drop of The Naked Spur. Rewrites: Leigh Brackett (script doctor supreme: The Big Sleep, Rio Bravo, The Empire Strikes Back) is hired to tone down the political commentary and add some sex appeal. Miss Brackett split the role of Nice Guy Eddy (now Cow Puncher Bob) into two roles: Two siblings competing for their father's approval (much like Duel in the Sun) Cow Puncher Bob, a slick but incompetent rustler, and Grifter Gurdy, modeled after Lauren Bacall's con women / gambler characters from To Have and Have Not and The Big Sleep. The love triangle between Cub, Timber Wolf, and Grifter Gurdy pleased the studio (however they were angered when they saw Anthony Mann's finished product because of the homosexual overtones that Clift brought out in the mentor relationship between Cub and Timber Wolf). Casting: Gary Cooper as Mr. White/ Timber Wolf: Cooper's leadership and bravery in taking a role that John Wayne thought was un-American is stellar, comparable only to his work on High Noon. Cooper's earnest desire to save the dying "Cub" is palpable. And his seeming asexuality highlights Clift's subversive performance. Montgomery Clift as Mr. Orange / Cub: Mann chose Clift because of the actor's work in Red River. His youth and energy light up as the conflicted double agent. And the women love him in those chaps (this is why the studio eventually shelved the film, which was never to see the light of day) Jack Palance as Mr. Blonde / Coyote: Actor Alan Ladd happened to see the dailies of The Wolves of Gomorrah Gorge before the studio locked them away. The star was so impressed by Palance's cool contained rage that he forced Shane director George Stevens to put Palance on the short list for the role of Jack Wilson. The rest, as they say, is history Denis O'Keefe / Loren Bacall as Nice Guy Eddy / Cow Puncher Bob / Grifter Gurdy: O'Keefe's star had fallen a bit after poor reviews of Mann's Raw Deal. Mann liked to see the suave actor portray slick con men (part of his role in T – Men) so he snuck him into the film despite argument from the studio. Bacall was obvious due to Brackett's revisions, however Jennifer Jones was considered until Mann saw and disliked her in King Vidor's Duel in the Sun. Dean Martin as Mr. Pink / Skunk: Martin was originally offered the role of Coyote. Mann thought his cool domineer would create great contrast between the perception of the character and his violent actions. Dean Martin's record label was afraid that their star was being derogatively stereotyped… an Italian in the role of an evil thief, gangster and ear removing murderer (though Frank thought it would be o.k.). Dino opted to go with the drunken comic relief instead. The scene during the second act brake where he belts out "The Ballad of the Scavengers of Dry Gorge" to the nervous thieves pined down in the gorge by the Cavalry (eerily similar to a scene in Rio Bravo) is something I wish all could see. In the time line of the story this is where Coyote removes the young deputy's ear… off camera and covered in vague dialog. Jimmy Stewart as Joe Cabot. As always the elder statesmen Stewart gave his all in a both commanding and haunting performance as the ring leader of the train robbery gang (this would be the beginning of the psychologically conflicted, obsessive characters Stewart would be remembered for: Vertigo and The Naked Spur). Only Jimmy Stewart could corral these wild wolves. Though on the set for just a few days this cameo would prove to form a lasting friendship and yield much collaboration between Mann and Stewart. Ralph Meeker as Mr. Brown / Hyena: Ah crazy Ralph Meeker. I think if you watch Kiss Me Deadly or The Naked Spur you can see why he would be fantastic spouting off long, near incoherent, hyper macho dialog trying to get approval from the other thieves. He's a forgotten American treasure (And from MPLS!!! Walter Brennen as Mr. Blue / Grey Wolf: It's hard to imagine a western with out Walter Brennen playing the old coot that tells the hero they are full of it. In this film he is taunting poor Dean Martin for his alcohol problems: Joe Cabot (Jimmy Stewart): And you're Skunk. Skunk (Dean Martin): AH… now that ain't even a Wolf, Joe?! Grey Wolf (Walter Brennen): Ye don't gits ta be no Wolf cas' ya stink ta' high heaven boy. (High pitch HEYUCK sound… repeat). Meebe if ya lay of that HOOCH ya could be a wolf. Right now yas just a smelly varmint (continues laughing). Skunk (Dean Martin): Ah cram it old timer! (Skunk shoots at Grey Wolf and misses). Joe Cabot (Jimmy Stewart): Knock it off you two! Now (stutter) Now where was I… oh yeah the train. Alfred Ryder as Young Cop who gets his ear cut off (Deputy who gets his ear cut off… off camera [revealed in illusive dialog]): Alfred Ryder played the other undercover agent in Anthony Mann's T – Men. His character is found out and killed by the gangsters he is trying to infiltrate. His ability to show both competence as an agent for the government and fear as a mortal in trouble is HAUNTING. Ward Bond as Holdaway (Mr. Orange's Undercover training officer) (Sheriff Holdaway): Much like Walter Brennen, it's not a great western unless you've got Ward Bond (high school football team mate of John Wayne, famous for his roles in many of Wayne's films such as the Calvary Captain/ Reverend Samuel Johnston Clayton in The Searchers). Carl Foreman envisioned this part as a Fortinbras like character that the thieves would talk about but would only appear on screen a few times to create suspense. Sheriff Holdaway leads the posse that traps the bandits in Gomorrah Gorge, which forces Cub, Timber Wolf, and Grifter Gurdy to play their final hands. Hank Worden as Bumbling Train Operator: Foreman didn't go for the flash back structure of Tarantino's outline. His story is much more linear, leaving Cub's allegiance a mystery. He replaces the drawn out training sequence in Reservoir Dogs with the train heist that Tarantino was too cleaver to bother with. It was played for both laughs and action. Most of the laughs came from Hank Worden who some of you will remember as Mose Harper in The Searchers ("thank you… thaaank you kindly"), but more of you will remember as senior drool cup (ancient room service guy) in Twin Peaks ("thank you… thaaank you kindly"). That's it. Thanks for reading all of this non-sense.
]]>Sat, 19 Jul 2008 01:44:33 GMTtheunemployedshortstopFilmgaming7/18/2008 9:44:33 PMThe Epic Tale of "The Wolves of Gomorrah Gorge." The Conceit: Due to a trans-dimensional rift caused by the AWESOMENESS of the Inglorious Bastards screenplay Quentin Tarantino is able to jump into a dimension where the world is perpetually in the early fifties. The impish auteur (also great collaborator) is eager to see what some of his favorite directors and writers would do with his material. He gives a vague outline of Reservoir Dogs to Carl Foreman. Bitter over the HUAC hearings of 1947, Forman takes the idea of the mole cop and turns it into a commentary on witch hunting (like the Crucible set in the American West&hellip; with action and no weeping, whining, or three hour yawn-fest&hellip; just kidding). Production: The studio loved the concept and saw Anthony Mann as the director. His surprising presentation of the morally grey double agents in T &ndash; Men and his success as a visual director of both noir and westerns would yield a fantastic visual motif. Foreman set the film in an abandoned camp&hellip; rumored to have once been a lush valley, the area is now a barren gorge of salt (Hence Gomorrah Gorge though the studio would want to back off of this title&hellip; hence the title of Guthrie's song). Mann shot the film in the Colombia River Gorge and the surrounding desert like region of Eastern Washington. It was more visually arresting than the Rocky Mountain back drop of The Naked Spur. Rewrites: Leigh Brackett (script doctor supreme: The Big Sleep, Rio Bravo, The Empire Strikes Back) is hired to tone down the political commentary and add some sex appeal. Miss Brackett split the role of Nice Guy Eddy (now Cow Puncher Bob) into two roles: Two siblings competing for their father's approval (much like Duel in the Sun) Cow Puncher Bob, a slick but incompetent rustler, and Grifter Gurdy, modeled after Lauren Bacall's con women / gambler characters from To Have and Have Not and The Big Sleep. The love triangle between Cub, Timber Wolf, and Grifter Gurdy pleased the studio (however they were angered when they saw Anthony Mann's finished product because of the homosexual overtones that Clift brought out in the mentor relationship between Cub and Timber Wolf). Casting: Gary Cooper as Mr. White/ Timber Wolf: Cooper's leadership and bravery in taking a role that John Wayne thought was un-American is stellar, comparable only to his work on High Noon. Cooper's earnest desire to save the dying "Cub" is palpable. And his seeming asexuality highlights Clift's subversive performance. Montgomery Clift as Mr. Orange / Cub: Mann chose Clift because of the actor's work in Red River. His youth and energy light up as the conflicted double agent. And the women love him in those chaps (this is why the studio eventually shelved the film, which was never to see the light of day) Jack Palance as Mr. Blonde / Coyote: Actor Alan Ladd happened to see the dailies of The Wolves of Gomorrah Gorge before the studio locked them away. The star was so impressed by Palance's cool contained rage that he forced Shane director George Stevens to put Palance on the short list for the role of Jack Wilson. The rest, as they say, is history Denis O'Keefe / Loren Bacall as Nice Guy Eddy / Cow Puncher Bob / Grifter Gurdy: O'Keefe's star had fallen a bit after poor reviews of Mann's Raw Deal. Mann liked to see the suave actor portray slick con men (part of his role in T &ndash; Men) so he snuck him into the film despite argument from the studio. Bacall was obvious due to Brackett's revisions, however Jennifer Jones was considered until Mann saw and disliked her in King Vidor's Duel in the Sun. Dean Martin as Mr. Pink / Skunk: Martin was originally offered the role of Coyote. Mann thought his cool domineer would create great contrast between the perception of the character and his violent actions. Dean Martin's record label was afraid that their star was being derogatively stereotyped&hellip; an Italian in the role of an evil thief, gangster and ear removing murderer (though Frank thought it would be o.k.). Dino opted to go with the drunken comic relief instead. The scene during the second act brake where he belts out "The Ballad of the Scavengers of Dry Gorge" to the nervous thieves pined down in the gorge by the Cavalry (eerily similar to a scene in Rio Bravo) is something I wish all could see. In the time line of the story this is where Coyote removes the young deputy's ear&hellip; off camera and covered in vague dialog. Jimmy Stewart as Joe Cabot. As always the elder statesmen Stewart gave his all in a both commanding and haunting performance as the ring leader of the train robbery gang (this would be the beginning of the psychologically conflicted, obsessive characters Stewart would be remembered for: Vertigo and The Naked Spur). Only Jimmy Stewart could corral these wild wolves. Though on the set for just a few days this cameo would prove to form a lasting friendship and yield much collaboration between Mann and Stewart. Ralph Meeker as Mr. Brown / Hyena: Ah crazy Ralph Meeker. I think if you watch Kiss Me Deadly or The Naked Spur you can see why he would be fantastic spouting off long, near incoherent, hyper macho dialog trying to get approval from the other thieves. He's a forgotten American treasure (And from MPLS!!! Walter Brennen as Mr. Blue / Grey Wolf: It's hard to imagine a western with out Walter Brennen playing the old coot that tells the hero they are full of it. In this film he is taunting poor Dean Martin for his alcohol problems: Joe Cabot (Jimmy Stewart): And you're Skunk. Skunk (Dean Martin): AH&hellip; now that ain't even a Wolf, Joe?! Grey Wolf (Walter Brennen): Ye don't gits ta be no Wolf cas' ya stink ta' high heaven boy. (High pitch HEYUCK sound&hellip; repeat). Meebe if ya lay of that HOOCH ya could be a wolf. Right now yas just a smelly varmint (continues laughing). Skunk (Dean Martin): Ah cram it old timer! (Skunk shoots at Grey Wolf and misses). Joe Cabot (Jimmy Stewart): Knock it off you two! Now (stutter) Now where was I&hellip; oh yeah the train. Alfred Ryder as Young Cop who gets his ear cut off (Deputy who gets his ear cut off&hellip; off camera [revealed in illusive dialog]): Alfred Ryder played the other undercover agent in Anthony Mann's T &ndash; Men. His character is found out and killed by the gangsters he is trying to infiltrate. His ability to show both competence as an agent for the government and fear as a mortal in trouble is HAUNTING. Ward Bond as Holdaway (Mr. Orange's Undercover training officer) (Sheriff Holdaway): Much like Walter Brennen, it's not a great western unless you've got Ward Bond (high school football team mate of John Wayne, famous for his roles in many of Wayne's films such as the Calvary Captain/ Reverend Samuel Johnston Clayton in The Searchers). Carl Foreman envisioned this part as a Fortinbras like character that the thieves would talk about but would only appear on screen a few times to create suspense. Sheriff Holdaway leads the posse that traps the bandits in Gomorrah Gorge, which forces Cub, Timber Wolf, and Grifter Gurdy to play their final hands. Hank Worden as Bumbling Train Operator: Foreman didn't go for the flash back structure of Tarantino's outline. His story is much more linear, leaving Cub's allegiance a mystery. He replaces the drawn out training sequence in Reservoir Dogs with the train heist that Tarantino was too cleaver to bother with. It was played for both laughs and action. Most of the laughs came from Hank Worden who some of you will remember as Mose Harper in The Searchers ("thank you&hellip; thaaank you kindly"), but more of you will remember as senior drool cup (ancient room service guy) in Twin Peaks ("thank you&hellip; thaaank you kindly"). That's it. Thanks for reading all of this non-sense. http://www.spout.com/blogs/shaunhuston/archive/2008/6/18/31390.aspx Post By: ShaunHuston
Post To: ShaunHuston filmblog
Post Date: 6/18/2008 9:01:56 PM
Body: The Western Top 10 is the toughest for me. As some of you may know, while I'm hardly Richard Slotkin or Jane Tompkins, I write, teach, and think about this genre on a regular basis, and, as a result, my views are not only fairly strong, but well-informed. And, where certain well regarded classics are concerned, they are also iconoclastic. This is probably nowhere more obvious than with The Searchers (1956), the film that tops the AFI list. This film does not resonate with me on any level. I have never found the ending credible. John Wayne does not portray Ethan Edwards with any of the complexity needed for his embrace of Debbie (Natalie Wood) to ring true after his 118 (or so) minutes of hard, racist ranting about Native Americans and his intent to kill her. I also find the photography and production design to be garish without purpose, and for all of its superficial sophistication about Native peoples, the talk of ritual, the use of indigenous language, it only serves to perpetuate the myth of white mastery. After all, it is white men who “know” and understand Native peoples, not the other way around. Native Americans are no less the brutish savages in this film than they are in Stagecoach (1939), but at least that film doesn't pretend to be anything but pulpy fantasy (indeed, it remains my favorite John Ford/John Wayne Western). And the landscape changes in The Searchers drive me crazy. Even though no one seems to actually leave Texas, the weather and land change in absurd ways during the course of the quest. Where are these people supposed to be? I fully recognize that I am a freak when it comes to this film, and as a result, I'm not going to make a pitch for taking it off of the list, although I do think that it needs to be demoted. The other film worth arguing about is one that I would knock of the AFI list, and that is Shane (1953). My biggest block with this film is Joey (Brandon de Wilde). The whining, oh the whining. Gah. I can't get past it. At the same time, I don't think that Alan Ladd makes for a convincing hero; he has too much of a “contemporary” presence. Van Heflin's Joe Starrett is virtually the same guy as Dan Evans, Heflin's character in 3:10 to Yuma (1957), and much less interesting. As menacing as Jack Palance's black hatted gunfighter is, he's also more hollow than the norm. And, yes, I understand the subtext about the Frontiersman and his lack of place in civilization, but that theme is punctuated in many a film without Shane's weaknesses. The selection of Cat Ballou (1965) still seems like some kind of a joke, but it is perhaps typical of an industry that has wanted to bury this genre for the past five decades or so. Red River (1948) made no impression on me when I saw it. Is that a reason to take it off the list? I don't know, but I would have no shortage of replacements if it is. Part of the difficulty with these lists is how the boundary is drawn around “American” film. I can see where Sergio Leone's movies with Clint Eastwood might be precluded as “American”, but, given some of the other selections on other lists, Once Upon a Time in the West (1968) seems perfectly fair game to me (it was, after all, co-produced by Paramount, not to mention featuring a group of notable American actors in all of the lead male roles). Were it up to me, this film would certainly be on the list, and possibly even on top (I might just elevate High Noon, 1952, to the top spot depending on how much of a classisist I want to be). Undoubtedly, The Wild Bunch (1969) is Sam Peckinpah's magnum opus, but that's hardly a reason to make it his only film on the list. Ride the High Country (1962), for example, is an early elegiac Western that explores Western archetypes in more interesting ways than most of the films on the list from its same general period. The AFI's definition of the Western - “a genre of films set in the American West that embodies the spirit, the struggle and the demise of the new frontier” - also seems to leave room for a movie like Lone Star (1996), or, and I know I'm pushing it here, Serenity (2005) (and you can scoff at this if you want, but Joss Whedon's movie re-imagines the Frontier and the supposed line between savagery and civilization in interesting and vital ways; I think that it certainly makes a more original contribution to the genre than does Shane). Two other recent Westerns for which I have a great deal of affection are The Claim (2000) and Open Range (2003). I'm not sure I'd end up placing all of the films listed above on a reconstructed list, but I do think that there is a tendency to treat the Western as a “dead” genre, killed at some point in the 1960s, with an occasional raising from the dead, and it's not so. It's also a genre with a fairly well-rehearsed canon. Placing The Searchers at the top of a list like this is much like putting Citizen Kane (1941) at the top of the AFI's ur-list: it's almost reflexive. Link to introduction. Originally posted on:Short-Circuit Signs
]]>Thu, 19 Jun 2008 01:01:56 GMTShaunHustonShaunHuston filmblog6/18/2008 9:01:56 PMThe Western Top 10 is the toughest for me. As some of you may know, while I'm hardly Richard Slotkin or Jane Tompkins, I write, teach, and think about this genre on a regular basis, and, as a result, my views are not only fairly strong, but well-informed. And, where certain well regarded classics are concerned, they are also iconoclastic. This is probably nowhere more obvious than with The Searchers (1956), the film that tops the AFI list. This film does not resonate with me on any level. I have never found the ending credible. John Wayne does not portray Ethan Edwards with any of the complexity needed for his embrace of Debbie (Natalie Wood) to ring true after his 118 (or so) minutes of hard, racist ranting about Native Americans and his intent to kill her. I also find the photography and production design to be garish without purpose, and for all of its superficial sophistication about Native peoples, the talk of ritual, the use of indigenous language, it only serves to perpetuate the myth of white mastery. After all, it is white men who &ldquo;know&rdquo; and understand Native peoples, not the other way around. Native Americans are no less the brutish savages in this film than they are in Stagecoach (1939), but at least that film doesn't pretend to be anything but pulpy fantasy (indeed, it remains my favorite John Ford/John Wayne Western). And the landscape changes in The Searchers drive me crazy. Even though no one seems to actually leave Texas, the weather and land change in absurd ways during the course of the quest. Where are these people supposed to be? I fully recognize that I am a freak when it comes to this film, and as a result, I'm not going to make a pitch for taking it off of the list, although I do think that it needs to be demoted. The other film worth arguing about is one that I would knock of the AFI list, and that is Shane (1953). My biggest block with this film is Joey (Brandon de Wilde). The whining, oh the whining. Gah. I can't get past it. At the same time, I don't think that Alan Ladd makes for a convincing hero; he has too much of a &ldquo;contemporary&rdquo; presence. Van Heflin's Joe Starrett is virtually the same guy as Dan Evans, Heflin's character in 3:10 to Yuma (1957), and much less interesting. As menacing as Jack Palance's black hatted gunfighter is, he's also more hollow than the norm. And, yes, I understand the subtext about the Frontiersman and his lack of place in civilization, but that theme is punctuated in many a film without Shane's weaknesses. The selection of Cat Ballou (1965) still seems like some kind of a joke, but it is perhaps typical of an industry that has wanted to bury this genre for the past five decades or so. Red River (1948) made no impression on me when I saw it. Is that a reason to take it off the list? I don't know, but I would have no shortage of replacements if it is. Part of the difficulty with these lists is how the boundary is drawn around &ldquo;American&rdquo; film. I can see where Sergio Leone's movies with Clint Eastwood might be precluded as &ldquo;American&rdquo;, but, given some of the other selections on other lists, Once Upon a Time in the West (1968) seems perfectly fair game to me (it was, after all, co-produced by Paramount, not to mention featuring a group of notable American actors in all of the lead male roles). Were it up to me, this film would certainly be on the list, and possibly even on top (I might just elevate High Noon, 1952, to the top spot depending on how much of a classisist I want to be). Undoubtedly, The Wild Bunch (1969) is Sam Peckinpah's magnum opus, but that's hardly a reason to make it his only film on the list. Ride the High Country (1962), for example, is an early elegiac Western that explores Western archetypes in more interesting ways than most of the films on the list from its same general period. The AFI's definition of the Western - &ldquo;a genre of films set in the American West that embodies the spirit, the struggle and the demise of the new frontier&rdquo; - also seems to leave room for a movie like Lone Star (1996), or, and I know I'm pushing it here, Serenity (2005) (and you can scoff at this if you want, but Joss Whedon's movie re-imagines the Frontier and the supposed line between savagery and civilization in interesting and vital ways; I think that it certainly makes a more original contribution to the genre than does Shane). Two other recent Westerns for which I have a great deal of affection are The Claim (2000) and Open Range (2003). I'm not sure I'd end up placing all of the films listed above on a reconstructed list, but I do think that there is a tendency to treat the Western as a &ldquo;dead&rdquo; genre, killed at some point in the 1960s, with an occasional raising from the dead, and it's not so. It's also a genre with a fairly well-rehearsed canon. Placing The Searchers at the top of a list like this is much like putting Citizen Kane (1941) at the top of the AFI's ur-list: it's almost reflexive. Link to introduction. Originally posted on:Short-Circuit Signs http://www.spout.com/blogs/jakestevens/archive/2008/6/2/30311.aspx Post By: JakeStevens
Post To: JakeStevens Blog
Post Date: 6/2/2008 1:29:01 AM
Body: As far as Westerns go, this is probably one of the better "classic" ones that I've seen - it's very well acted, the cinematography is right up there with "The Searchers", and the screenplay is very even-handed: the villains seem like victims of circumstance at times, and the dialogue between them and the ranchers, although occasionally a bit too exposition-laden, is informative and true-to-the-times. A very young Jack Palance makes an appearance as a hired gun who embodies the land baron's dark and murderous side, his trademark grin providing the appropriate amount of sadism. The fight scenes are surprisingly drawn-out and, for its time, realistic: you can hear the fighters getting tired and breathing heavily. A very good, classic Western and a GREAT transfer to DVD.
]]>Mon, 02 Jun 2008 05:29:01 GMTJakeStevensJakeStevens Blog6/2/2008 1:29:01 AMAs far as Westerns go, this is probably one of the better "classic" ones that I've seen - it's very well acted, the cinematography is right up there with "The Searchers", and the screenplay is very even-handed: the villains seem like victims of circumstance at times, and the dialogue between them and the ranchers, although occasionally a bit too exposition-laden, is informative and true-to-the-times. A very young Jack Palance makes an appearance as a hired gun who embodies the land baron's dark and murderous side, his trademark grin providing the appropriate amount of sadism. The fight scenes are surprisingly drawn-out and, for its time, realistic: you can hear the fighters getting tired and breathing heavily. A very good, classic Western and a GREAT transfer to DVD. http://www.spout.com/blogs/risselada/archive/2007/11/19/21772.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 11/19/2007 11:10:22 AM
Body: This is a list for Round 2 of my movie year countdown viewing project as first described here. If by any strange chance whoever is reading this is actually following along you may notice that I'm still less than two thirds of the way through my original one. Well I'm starting this new one because as much as I love old movies it can get a little tedious watching just older movies. So I'm going to be blending my watching of the two lists together. Still focusing on the original one, but every once in a while sliding in the next entry from this new list.Again these new movies are limited to full length movies that are available on Netflix. And for this new round instead of picking a movie from every year, I will be picking a movie from every two years. For example the first movie must have come out during 2006 or 2007. The second movie must have come out in 2004 or 2005. The next in 2002 or 2003. You see.The list is not finished yet, but here is what I have decided so far. I will update this post later with the new flicks.-------------------------------------------------------------------------------1. Children of Men (2006)2. The New World (2005)3. Mou gaan dou (Infernal Affairs) (2002)4. Riri Shushu no subete (All About Lily Chou-Chou) (2001)5. Party Monster (1998)6. Hard Eight (1996)7. Smoke (1995)8. Jennifer Eight (1992)9. The Fisher King (1991)10. Tetsuo (Tetsuo, the Iron Man) (1989)11. Angel Heart (1987)12. Runaway Train (1985)13. Burden of Dreams (1982)14. The Big Red One (1980)15. Stalker (1979)16. Network (1976)17. Angst essen Seele auf (Ali: Fear Eats the Soul) (1974)18. The Wicker Man (1973)19. Land des Schweigens und der Dunkelheit (Land of Silence and Darkness) (1971)20. Z (1969)21. In Cold Blood (1967)22. Suna no onna (Woman in the Dunes) (1964)23. The Intruder (1962)24. Jungfrukällan (The Virgin Spring) (1960)25. Pickpocket (1959)26. Invasion of the Body Snatchers (1956)27. Kiss Me Deadly (1955)28. Shane (1953)29. Winchester '73 (1950)30. The Big Clock (1948)31. The Postman Always Rings Twice (1946)32. The Chronicle History of King Henry the Fift with His Battell Fought at Agincourt in France (1944)33. Hi Diddle Diddle (1943)34. The Philadelphia Story (1940)35. Angels with Dirty Faces (1938)36. Mr. Deeds Goes to Town (1936)37. Man on the Flying Trapeze (1935)38. I Am a Fugitive from a Chain Gang (1932)39. Zemlya (Earth) (1930)40. Die Büchse der Pandora (Pandora's Box) (1929)41. The Unknown (1927)42. Seven Chances (1925)43. Dr. Mabuse, der Spieler - Ein Bild der Zeit (Dr. Mabuse: The Gambler) (1922)44. The Kid (1921)45. Male and Female (1919)46. Umirayushchii Lebed (The Dying Swan) (1917)47. The Birth of a Nation (1915)
]]>Mon, 19 Nov 2007 16:10:22 GMTRisseladaRisselada Blog11/19/2007 11:10:22 AMThis is a list for Round 2 of my movie year countdown viewing project as first described here. If by any strange chance whoever is reading this is actually following along you may notice that I&#39;m still less than two thirds of the way through my original one. Well I&#39;m starting this new one because as much as I love old movies it can get a little tedious watching just older movies. So I&#39;m going to be blending my watching of the two lists together. Still focusing on the original one, but every once in a while sliding in the next entry from this new list.Again these new movies are limited to full length movies that are available on Netflix. And for this new round instead of picking a movie from every year, I will be picking a movie from every two years. For example the first movie must have come out during 2006 or 2007. The second movie must have come out in 2004 or 2005. The next in 2002 or 2003. You see.The list is not finished yet, but here is what I have decided so far. I will update this post later with the new flicks.-------------------------------------------------------------------------------1. Children of Men (2006)2. The New World (2005)3. Mou gaan dou (Infernal Affairs) (2002)4. Riri Shushu no subete (All About Lily Chou-Chou) (2001)5. Party Monster (1998)6. Hard Eight (1996)7. Smoke (1995)8. Jennifer Eight (1992)9. The Fisher King (1991)10. Tetsuo (Tetsuo, the Iron Man) (1989)11. Angel Heart (1987)12. Runaway Train (1985)13. Burden of Dreams (1982)14. The Big Red One (1980)15. Stalker (1979)16. Network (1976)17. Angst essen Seele auf (Ali: Fear Eats the Soul) (1974)18. The Wicker Man (1973)19. Land des Schweigens und der Dunkelheit (Land of Silence and Darkness) (1971)20. Z (1969)21. In Cold Blood (1967)22. Suna no onna (Woman in the Dunes) (1964)23. The Intruder (1962)24. Jungfruk&auml;llan (The Virgin Spring) (1960)25. Pickpocket (1959)26. Invasion of the Body Snatchers (1956)27. Kiss Me Deadly (1955)28. Shane (1953)29. Winchester &#39;73 (1950)30. The Big Clock (1948)31. The Postman Always Rings Twice (1946)32. The Chronicle History of King Henry the Fift with His Battell Fought at Agincourt in France (1944)33. Hi Diddle Diddle (1943)34. The Philadelphia Story (1940)35. Angels with Dirty Faces (1938)36. Mr. Deeds Goes to Town (1936)37. Man on the Flying Trapeze (1935)38. I Am a Fugitive from a Chain Gang (1932)39. Zemlya (Earth) (1930)40. Die B&uuml;chse der Pandora (Pandora&#39;s Box) (1929)41. The Unknown (1927)42. Seven Chances (1925)43. Dr. Mabuse, der Spieler - Ein Bild der Zeit (Dr. Mabuse: The Gambler) (1922)44. The Kid (1921)45. Male and Female (1919)46. Umirayushchii Lebed (The Dying Swan) (1917)47. The Birth of a Nation (1915) http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
Number of films tagged: 816

Number of people who tagged: 313

Number of times used: 1454

]]>Sat, 19 Dec 2009 23:30:46 GMT8163131454Tag http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
Number of films tagged: 6289

Number of people who tagged: 227

Number of times used: 1140

]]>Wed, 23 Dec 2009 05:51:34 GMT62892271140Tag http://www.spout.com/members/0/tags/Great/MemberTagFilms.aspxGreat
Number of films tagged: 231

Number of people who tagged: 202

Number of times used: 371

]]>Fri, 04 Dec 2009 17:11:49 GMT231202371Tag http://www.spout.com/members/0/tags/drama/MemberTagFilms.aspxdrama
Number of films tagged: 527

Number of people who tagged: 102

Number of times used: 627

]]>Wed, 16 Dec 2009 19:01:29 GMT527102627Tag http://www.spout.com/members/0/tags/western/MemberTagFilms.aspxwestern
Number of films tagged: 93

Number of people who tagged: 64

Number of times used: 136

]]>Wed, 09 Dec 2009 05:09:54 GMT9364136Tag http://www.spout.com/members/0/tags/father/MemberTagFilms.aspxfather
Number of films tagged: 3580

Number of people who tagged: 51

Number of times used: 213

]]>Wed, 11 Nov 2009 20:51:56 GMT358051213Tag http://www.spout.com/members/0/tags/slow/MemberTagFilms.aspxslow
Number of films tagged: 92

Number of people who tagged: 46

Number of times used: 106

]]>Mon, 14 Dec 2009 22:42:26 GMT9246106Tag http://www.spout.com/members/0/tags/guns/MemberTagFilms.aspxguns
Number of films tagged: 103

Number of people who tagged: 42

Number of times used: 125

]]>Mon, 30 Nov 2009 04:32:56 GMT10342125Tag http://www.spout.com/members/0/tags/son/MemberTagFilms.aspxson
Number of films tagged: 2321

Number of people who tagged: 40

Number of times used: 111

]]>Mon, 12 Oct 2009 04:48:06 GMT232140111Tag http://www.spout.com/members/0/tags/based-on-a-book/MemberTagFilms.aspxbased-on-a-book
Number of films tagged: 173

Number of people who tagged: 37

Number of times used: 278

]]>Fri, 20 Nov 2009 18:52:06 GMT17337278Tag http://www.spout.com/members/0/tags/gun/MemberTagFilms.aspxgun
Number of films tagged: 203

Number of people who tagged: 23

Number of times used: 86

]]>Thu, 19 Nov 2009 18:49:59 GMT2032386Tag http://www.spout.com/members/0/tags/farming/MemberTagFilms.aspxfarming
Number of films tagged: 684

Number of people who tagged: 14

Number of times used: 19

]]>Wed, 17 Jun 2009 13:03:02 GMT6841419Tag http://www.spout.com/members/0/tags/mustsee/MemberTagFilms.aspxmustsee
Number of films tagged: 23

Number of people who tagged: 14

Number of times used: 29

]]>Fri, 08 Feb 2008 03:38:10 GMT231429Tag http://www.spout.com/members/0/tags/mountains/MemberTagFilms.aspxmountains
Number of films tagged: 667

Number of people who tagged: 11

Number of times used: 17

]]>Mon, 02 Nov 2009 03:56:35 GMT6671117Tag http://www.spout.com/members/0/tags/cowboys/MemberTagFilms.aspxcowboys
Number of films tagged: 13

Number of people who tagged: 10

Number of times used: 15

]]>Mon, 02 Nov 2009 03:59:01 GMT131015Tag