Blazing Saddles

And this week's Friday night movie has been... Blazing Saddles!

Original image located here. Accessed 29th December 2023

So how do I see out 2023? By watching one of the most funniest/offensive movies ever made.

It's a popular statement nowadays to declare that this movie wouldn't have a hope in hell of being made today but I feel such a declaration is selling the movie short. Because it is still really funny. There are some genuinely laugh-out moments and there is some biting satire. I knew from watching Spaceballs in my youth (many many times) I thought I'd know what to expect from Mel Brooks' brand of humour but this movie still manages to surprise.
Indeed, I do remember, quite vividly, seeing the climax but seeing it now, and with proper context, it is still a riot (pun intended).

Anywho, this concludes this series for 2023. Thank you for joining me on this journey and for following these ramblings over the past twelve months.
Next year will be 2024 - and thereby making it ten years since I started this series. So do I have something special planned for the tenth anniversary? Well it's funny you should mention that..

The Man Who Shot Liberty Valance

 And this week's Friday night movie has been... The Man Who Shot Liberty Valance!

Original image located here. Accessed 3rd November 2023

"He was the bravest of them allllllll......."

Once again, I tackle one of the westerns forged from the partnership between director John Ford and actor John Wayne. By all accounts, this was an unbeatable team, making some of the finest westerns ever committed to celluloid.

So it is indeed a surprise to see that this movie does things differently: it is shot in black and white and the location shooting is non-existent. These two elements are pretty much defined Ford's westerns so their absence is indeed striking. 
And one gets the impression that this is exactly the point: This movie is pretty much built around the notion of how the mythology of the wild west is built up and thrives. And it is therefore fitting that Ford is casting a critical eye to the westerns he crafted and the legend he, and Wayne, built up.

Keep in mind that this was made in the 1960s, where the western genre was on shaky ground: On one hand, the genre itself was falling fast out of favour and, on the other, in doing so it was perfectly positioned to be reinvented by the spaghetti westerns of Sergio Leone and the nihilism of Sam Peckinpah. And in that sense, the Man Who Shot Liberty Valance seems to be the endpoint of the classic western that defined the decades prior. But that doesn't mean it is without merit. 
So yeah: An excellent western all around

McCabe and Mrs Miller

And this week's Friday Night movie has been... McCabe and Mrs Miller!

Original image located here. Accessed 19th May 2023

If there has been a theme in my movie watching for this year (thus far) it is me addressing my to-watch list: watching the stuff that have been on there for a long time, and finally striking said movies from the list.
And this is one such movie: No idea how long it's been on my to watch list so that's a good reason to watch it.

So what we have here is a western (not gonna complain there) but with a difference: This is a western that takes a realistic approach. Instead of deserts, we get snow. Instead of the gunslinger protagonist we have a gambler-turned-businessman. Instead of a desolate, weather beaten town, we have a village on the grow.
Indeed it is that refusal to go with the grain of tried and tested western conventions that is the main strengths of this movie. And that the movie is beautifully shot is an added bonus.
The best moment for me is the final showdown, which plays much differently than one would expect and where the tension is milked for every drop.
So yeah, it's different but it's certainly compelling

Will Penny

And this week's Friday Night movie has been... Will Penny!

Original image located here. Accessed 17th March 2023

As regular readers would know, I like a good western so we arrive at this: a 1968 western with Charlton Heston in the lead role. I can't say I care much for Heston (especially since his disastrous appearance on Bowling for Colombine) but he did single this movie out as his favourite role and the one he was most proud of. Well, sounds like a challenge to me..

In retrospect, there is no denying that this is Heston's show all the way. He has a commanding presence and certainly shows a degree of commitment. So much so, one would think that he is in a separate movie when compared to the antagonists. It has been observed that said villains are the clique version of the west whilst Heston's character represents the more actual representation - and that is one assessment I do agree with.
So what we have here is the story of an aging gunslinger who falls in with a woman and her son and subsequently gets a glimpse of a life he could've led. Certainly a compelling scenario and a lot is certainly done with it.
So yeah, good movie.

Shane

And this week's Friday Night movie has been... Shane!

Original image located here. Accessed 27th January 2023

Yep its one of the classic westerns (not least for it's unforgettable closing scene). And given my love for the genre it was inevitable that I would come to this.

In a way this movie surprised me: I went in expecting a standard good vs evil tale where the distinction between the good guys and the baddies couldn't be defined clearer. But what I got was something with some surprising depth.
The gunfights aren't shown in an attractive light (perhaps pointing the way to the ultra-violence of westerns in the 1960s). The mysterious past of Shane isn't elaborated on save for a few tantalising clues (did he and Wilson clash previously?). The scenery is shown in a staggering light. And I will certainly admit that this movie makes a hefty contribition to the romanticisation of Wild West, showing a Wild West outsiders like myself have seen many times before (compared to the likes of, say, The Wild Bunch).
So yeah, a decent movie all round.

The Treasure of the Sierra Madre

And this week's Friday night movie has been... The Treasure of the Sierra Madre!

Original image located here. Accessed 25th June 2021

Its difficult to assess a classic movie like this (classic as in pre-New Hollywood era). The problem being? Much has been written about such movies in the decades since their release that it's difficult to come up with something new. Indeed, if people are still talking about Shrek in 2021, it would be interesting to see if they will have something new to say about in 2051.

In all honesty, there's not a lot I can say about this movie: It's a fascinating study of paranoia, greed and seeing how these three guys are playing off each other. Everyone involved here - particularly actors Humphrey Bogart and Walter Huston and Director John Huston - are at the top of their game.
And it is noteworthy of having the "laughter of the Damned' at the end: The kind of laughter one has borne of the frustration of trying to make some headway in the world but not succeeding (a laughter i know all too well).

Silverado

And this week's Friday night movie has been... Silverado!

Original image located here. Accessed 28th May 2021

I enjoy westerns. They continue to be one of my favorite movie genres and one I keep returning to. However, what is of particular interest is that this genre is, more or less, a dead one. Whilst westerns may have been abundant in the pre-sixties era of filmmaking, they had fallen seriously out of favour since. Aside from moments of reinvention (ie The Wild Bunch and The Good The Bad and The Ugly) and some genuine gems (Unforgiven), the western has never enjoyed the attention it once did and now looks like quite the antique. And it is interesting to see if a similar fate awaits other movie genres (rom-coms anyone?).

Which brings me to Silverado. A western made in the eighties and a clear attempt to breathe new life into a dead genre. That much is obvious given we see some stars of the day cast against type (Kevin Costner being an energetic loose cannon; John Cleese being a sheriff; Jeff Goldblum being a shady gambler) and there is some real love for the genre, and westerns past, being put to good use. And perhaps that is this movie's greatest strength: it ditches the revisionist approach of post-sixties westerns in favour of a more earnest approach, which celebrates the genre. Sure all the familiar tropes are here but that's kind of the point. And I surely can't be the only one who was reminded of High Noon in the final showdown.
But considering that this movie was written and directed by Lawrence Kasdan - who come to prominence through his work on Star Wars (Empire Strikes Back) - a saga built on a movie which was a celebration of one's love of movies, should this come as a surprise?

The Professionals

And this week's Friday night movie has been... The Professionals!

Original image located here. Accessed 30th April 2021

I have previously expressed a keen interest in the western genre and that interest has never dulled over the years. So here's a look at a western from the 1960s.
I know my film history and I can say that the sixties were an interesting time for the western. The decade was one where the genre going well out of fashion - which in turn offered a sense of reinvention accepted by the likes of Sergio Leone and Sam Peckinpah (in the form of The Good the Bad & the Ugly and The Wild Bunch respectively).

And it is in this period of reinvention that The Professionals sits comfortably. Compared to it's earlier brethren this film does indeed have a sense of grittiness and realism that is rarely found in the genre. There are indeed some great action sequences, more explosions than one would expect in a western and some characters with depth. But, as with many westerns, the real star is cinematography, which makes the scenery never dull and is always handled to it's best.
It may be overlooked when compared to other westerns of this era but that doesn't mean the Professionals is an worthy entrant to this genre.

The Hateful Eight

And this week's Friday night movie has been... The Hateful Eight!

Original image located here. Accessed 25th September 2020

I have seen a Magnificent Seven, a Ruthless Four and now we arrive at a movie that I've been wanting to see for quite some time. And I finally got the opportunity to do so (thanks Nick!).

No way around it: This a Tarantino film and it is therefore expected to see what he can do with the lessons he had picked up through watching countless movies. In a way, considering his affinity with gun battles, disjointed narratives and limited locations, it is unsurprising that he should again try his hand at a western.
Now I do enjoy a good western and I can see some familiar tropes being put to use: The use of scenery, the bounty hunter tracking down criminals, the presence of a stagecoach, the abrupt nature of people getting gunned down, lot's of blood and the presence of the late great Ennio Morricone. But these tropes are placed through the lens of a Tarantino picture: Thus we have some fascinating characters, a truly weather beaten look, some gripping suspense and a lot of black humor.
It may be difficult to determine Tarantino's best work but this is well and truly up there

Stagecoach

And this week's Friday night movie has been... Stagecoach!

Original image located here. Accessed 26th June 2020

I'm going after one of the big ones here today folks. I won't say no to a western and this is one of the big ones: The 1939 classic that was John Wayne's breakthrough role and the movie that elevated the western into a genre to be taken seriously.

Clearly the strength of this movie relies on three things: First up, is the characters. They are all well-realized, well-written and a stunning example of how to make the most of a small cast within a limited/restricted location.
Secondly, is the stunning scenery, that would become a trademark of John Ford's later movies (The Searchers anyone?). It looks as wide and empty as one would expect the frontier to look.
And thirdly is the stunning climax where the coach is under attack. It is tense, well shot and exciting. Indeed, one gets the impression this scene was one that has been studied by many a filmmakers ever since and has been alluded to in many an action movie.

It may be easy to dismiss this movie given it's age but, given the path it beat down, this is one movie that, quite rightly, demands respect. Furthermore. it is interesting to pick up elements that would be replicated countless times thereafter.
I always find it a gamble to talk about a movie from the 'classic' era (ie pre-1970/New Hollywood/Star Wars) but in this case, the gamble has paid off

Dances With Wolves

And this week's Friday night movie has been... Dances With Wolves!

Original image located here. Accessed 21st February 2020

I have mentioned previously how approaching certain movies can be an intimidating experience on reputation alone. And whilst this movie is one such instance, it does present an interesting case as this movie has a reputation that can only be described as a polarizing one.
On one hand, this was a sizable hit in it's day and subsequently silenced many a nay-sayer. It won Best Picture at the Oscars making it one of three westerns and one of six films done by a first-time director. It challenged a lot of western tropes by showing the Native Americans in a positive and sympathetic light.
But on the other hand, it was an undeserved winner at the Oscars. It robbed victory from Goodfellas. Despite it's intentions it still was a white man's movie. And a proponent of the 'white savior' trope that many a viewer would find insulting.
So for me, in order to appreciate this movie it is therefore necessary to divorce myself from both trains of thought and see it movie purely for what it is.

And you know something? It's actually pretty good. It may drag at times (I'm glad I didn't see the four hour special edition) but it succeeds in it's goal of offering a differing view in the western. Kevin Costner is certainly in control on both sides of the camera. But, much like the Searchers, the real star in this movie is the scenery, with moments of real beauty set in jaw-dropping landscapes.
So yeah. it's a solid movie from the brilliant moments of silence with Dunbar in isolation all the way to the punch-in-the-gut ending

Tombstone

And this week's Friday night movie has been....Tombstone!

Original image located here. Accessed 16th August 2019

Oh boy have I been wanting to see this for a long time. I enjoy westerns and this one has the promise of some of the snappiest dressed gunmen in any western. That and a sizable number of big names in the cast.

It's not a bad western. Oh sure it may be somewhat overlong, sure it may be meandering and sure some of the characters just come and go but I was impressed by the production values, the action sequences ("NO!!") and how both Val KIlmer and Kurt Russell make their mark - and how everyone else still manage to hold their own. It may not be historically accurate but it still has a lot of fun. There's some great lines herein too.
So in the end, it's not bad western and worthy entrant into the genre.

The Searchers

And this week's Friday night movie has been....The Searchers!

Original image located here. Accessed 2nd August 2019

Once again I find myself facing down one of the titans: One of the oft-mentioned, undisputed classics, frequented-referenced-in-best-of-list of cinema. It's an intimidating prospect indeed but am i up to the task?

Well much has been written of Ethan, John Wayne's character, and how much he is, in fact, a racist. I won't deny that but I personally think that if the movie made me involved in the character's arc then it must've done something right. Having said that, what makes this movie compelling is that it's looking through the genre of the western through a grey lens. There are no black hats/white hats that are so common in the genre and honestly? The movie is all the better for it.

Ultimately however the real star of the movie is the setting. It may be shot in Utah Arizona but it never ceases to astonish. It's colossal, staggering and mind-slowing in it's bareness. There's no green-screen whatsoever and leaves a lot of modern movies for dead.

So yes facing this movie was indeed an intimidating prospect but it still holds up, even with the distance of sixty years (that final shot being a particular stand out). So in the end, this movie has a well-earned reputation.
Truly epic in every sense of the word.

Rio Bravo

And this week's Friday night movie has been.....Rio Bravo!

Original image located here. Accessed 10th August 2018

Of course, it's fitting that I should follow High Noon with this movie. For those not in the know, both actor John Wayne and director Howard Hawks were unimpressed with High Noon, So they whipped out this movie as a response.

As is often the case with movies made before the New Hollywood (circa 1968-1980), I got the impression that the elements of this movie has been replicated many times over that it's kinda hard to look at the source. Example: The final showdown sees the main characters in a gunfight but still has room for them each to exchange quips and have their personalities work off of one another. Sound familiar? It may seem impressive in it;s day but now it's become something of the norm.

Still, I did enjoy this movie. Clearly this is one made by someone (Hawks) thoroughly enjoying his job and there's some great lines throughout. But is it better than High Noon? Now that's a damn good question....

High Noon

And this week's Friday night movie has been.....High Noon!

Original image located here. Accessed 3rd August 2018

"Do not for-sake me oh my Dar-lyn...."

Okay seriously this must be one of the most famous films ever made, let alone one of the most famous westerns. So there is a degree of intimidation that comes approaching it. Personally, i was impressed with this movie on three fronts: a) the whole thing is done in real time which is still remarkable over sixty years later, b) it has a degree of suspense that I haven't seen in any western prior and c) the final shootout still holds up, even with the passage of time and the whole 'one-man-army' trope that has been done a thousand times since.
Throw in some solid directing, Gary Cooper's performance (which snared him a well-deserved Oscar) and this is still an excellent movie.

Funny thing though: This movie is often regarded as a product of it's time: It was made during the era known as McCarthyism hence there are some themes tied to it within the movie itself. Personally I didn't really see it, so I think it;s safe to say that this is one of those rare movies that transcend the era they were made (treasure them folks for they are rare indeed). If anything, the idea of one person who is committed to doing the right thing even when everyone else is walking out on them is remarkably universal theme.
Even with the distance of sixty six years

Ride the High Country

And this week's Friday night movie has been.....Ride the High Country!

Original image located here. Accessed 15th June 2018

Behold: Sam Peckinpah's breakthrough movie. It's the one that set him on a path that led to later triumphs and features some recurring themes.....that would become recurring.
I have to admit that compared to some of Peckinpah's later work (the Wild Bunch and Pat Garrett & Billy the Kid) this seems more sedate. But that by no means makes it a bad movie: one gets the impression that Peckinpah wanted to prove>what he could do before he began stockpiling his shock tactics.

And prove he does: Great cinematography, excellent acting, some truly amazing scenery shots and the most bonkers wedding I've ever seen (or at least one of them).

Pat Garrett and Billy the Kid

And this week's Friday night movie has been.....Pat Garrett and Billy the Kid!

Original image located here. Accessed 16th February 2018

Call it a holdover from my University days but I'm always up for a decent western. And this was one I have been eager to see largely because it was one from director Sam Peckinpah: A volatile drunk with a hair-trigger temper that went one to make some of the greatest westerns ever made - one of which being The Wild Bunch (a personal favorite).

Needless to say, this movie was something unexpected. Sure there is the trademark Peckinpah violence but this is something more slower paced than what I'm used to. If anything, this is the most unique western I've seen: The plot is a string of set-pieces and the mood is very grim and drab, as if this was intended to be a eulogy to an entire genre of film-making.
Much has alreayd been said of the performances of the two leads (James Coburn and Kris Kristofferson) and the presence of a whole laundry list of veteran western actors/actresses. It's a credit to Peckinpah that he attracted such names and got superb performances out of them (including one Bob Dylan) but the ultimately, the thought that this is the endpoint of the western is an inescapable one. Everyone seems to remarkably accepting towards their end (which frequently happens) and are really living anachronisms in a time long gone (a familiar theme in Peckinpah's work).
All in all, a very different western and honestly? For a film signalling the end of a genre it adds much to it.