Alrighty, I haven’t done a giveaway in a LONG while, but I was going through a huge pile of movies here and found a stack of sealed duplicates that I picked up from a Severin Films sale last year when they were clearing out their DVD section, so I ended up with a dozen or so extras. Anyway, I like surprising people at random, so yep, I’m going to gift ONE lucky reader with these discs and that person has to do nothing but wait for the box to arrive. Of course, there’s a catch or two:
One, you have to be a subscriber to the blog. Two, you need to be a US resident. Sorry about that last part, but it’s far easier and a lot less expensive to just ship a box of movies almost anywhere in the US than to deal with customs forms and the package being delayed, opened and inspected by overzealous types out there.
No, YOU’RE throwing your back out dancing around the room to this!
SO, what IS inside the box, you ask? Well, let’s just say it’s a mix of genres and leave it at that. I think there’s one kid friendly film on the mix, a few horror films, a trailer collection and other strange stuff. Everything seems to be out of production from the distributor or rights have changed hands, so jump into the pool, if you’re able to. I’ll randomly pick someone off my subscriber list and shoot an email out to that person asking if they want the movies (say yes, please) and I’ll ship out your box around the end of the week. OR, you can reply in the comments without giving out personal info and if you’re chosen, we can work out the details via email. NO, I won’t sell your info to some shady company or send you those Sea Monkeys you ordered back when you were a kid. I guess it’s just me trying to be more human than “social” or something. An experiment, if you will. Humor me and be rewarded in the process. Good luck!
Yes, I’m still here, folks. Just a bit too occupied with real life these days. Now, where were we? So, The really funny thing is, I actually found some folks to give my most awful candy to and it was quite by accident. Previously, what you got was a total surprise and I’m sure kids got what they wanted more often than not while most of the adults who picked out their own treats seemed pleased, although on a few occasions, some parental units actually asked for the “worst” candy I had because they had a kid that had misbehaved in some way and they wanted to prove that The Great Pumpkin was cut from the same fictional cloth as Santa Claus or the Easter Bunny or whomever. I had previously made a separate bucket for the oddball candy and usually had enough to hand out later in the evening, but one year, an elderly gentlemen popped up beside me and asked if I had any Circus Peanuts(oog) because he and his brother loved them back in the day, but his strict parents despised Halloween and wouldn’t let them go celebrate the holiday for whatever reason.
“Sometimes, you feel like a nut…”
Sometimes, a little sugar therapy goes a long way and when I told the old man that not only did I have a bunch of sealed bags of Circus Peanuts, he was welcome to as many as he wanted, he surprised me by rooting carefully through the buckets and grabbing all of the pesky peanuts, stopping every few seconds to ask me if it was OK that he was taking them. “Sure!” was my response, as I knew I’d have issues getting rid of all those so-called “peanuts” when trick or treaters would come around later in the evening. Yes, I did mention to him to go easy with all that candy, and while he cheerfully munched on a handful, he smiled and said “It’s a good thing these last forever!” and “You know, these aren’t bad STALE!” which made me gag a little, I’ll admit. The next year. I remembered to deliberately by two of three bags just for him and he was too happy that I remembered and even the Security guards didn’t mind if there was a Halloween or two with bad weather and I left a few bags in the security booth for him to pick up later. One year, I recall telling him I had a few sealed bags of candy corn left and he laughed and said “What am I supposed to do with that?” My personal (and yes, snarky) recommendation was to make some sort of “fancy” holiday candy “salad” and share it with friends, but I already have enough trouble with friends who actually follow my often bad advice, let alone nice strangers who I’ve recently met.
I’ve only been egged once while handing out treats, and it was thanks to some Catholic school punks (it’s always the “good” kids, right?), but I was more annoyed at having to rush home, take a quick shower and change than getting overly upset at some teens having a bit of stupid fun. That said, the perks of this gifty gig have outweighed the few bad spots. On a few occasions, people have surprised me with their generosity. I still recall all those free cups of coffee from the diner across the street from the park and the server from the diner who’d show up in costume and joke around with us before or after her shift. One year she was dressed as Flo from the old TV show Alice, one year she was a somewhat spectacular Bride of Frankenstein (her daughter did a great job on her hair and makeup) and she really got into the spirit of the season with her other costumes. As most of her customers were older residents, she’d sometimes take requests and dress as characters from old films or TV shows, sometimes with costume changes mid-shift. One chilly Halloween, she popped over to drop off a few orders of pumpkin pancakes with bacon (they were awesome).
You never know who you might meet…
This may be the last year I’ll be able to do this, given the current world situation (Where’s that damn asteroid? It’s a bit late, you know?). But I’ll be my normally sunny self until that day comes or I decide it’s a good year to go on an actual vacation. My doctor made me laugh a few weeks ago when he said his own kids noted he’s in his YOLO phase about a few things. Yeah, me too (sound of bones creaking and other old coot stuff)… Happy Halloween!
OK, we’re still here, smoky acrid skies and all. (coughs. Thanks, Canada!) Some thoughts on the current scribbly situation along with other randomly generated ramblings:
Yes, we’ll continue to blog, albeit at a less than rapid clip than I’d prefer. The effect of pair of strokes I had a few years back have jumped up to remind me the writing process can be extremely daunting, especially when speed and quality are the issues. I have to constantly check my work, go back and edit, then reread everything before hitting that publish button or else you’d all be asking for an English translation into English or begging for me to start posting in Semaphore or Braille. Yes this takes a while to do and I hate it, but trying to rebuild a skill set is supposed to be a constant battle (at least in terms of the writer acquiring an honest, original “voice” in which to write in). Or something like that. Learning should always challenge.
That 10-yard stare makes for a common sight.
I’m also planning to reestablish connections with certain PR firms that I’ve previously dealt with (Hi there (again!) in order to receive (or get back to receiving) products to review. For a while, I was strictly purchasing products I reviewed or meant to review. But that’s gotten to be fairly expensive over the years, as I believe the “best” way to properly evaluate something is to actually pay for it while also pointing out its positive and negative aspects in a fair, unbiased (or biased in some cases) manner. “Biased”, of course, in that I’m a fan of some entertainment genres that don’t get the proper respect by too many very well-paid, freebie-loving “influencers” and “journalists” these days and I’d love to do my small part in helping raise a more positive impression of these genres. Tall order, especially in this giveaway friendly age. But it’s something I like to do as much as I can, while I still can. Granted, the current landscape is rife with those aforementioned (and extremely wealthy in many cases) types who expound on all sorts on products via a current format where some are paid to review and/or gift stuff from assorted sponsors, easily raking in hundreds to millions of fans who often rely on opinions of always raised voices and shock-tainted performances a more than actual facts. Personally, I’ve never been paid to review anything (although, a PR firm sent me a $50 Gamestop card after I’d posted a favorable review, which, by the way, had NO effect in my impressions). No one has ever told me they’d pay directly for a positive review, However, I have been asked a few times how much I’d charge to review something, or asked to review particular products primarily for some sort of payout and long term gain as other products to arrive later, but still haven’t taken that more lucrative bait.
SO Predictable (for me, at least!)
Of course, this makes me the absolutely dumbest person alive on a few fronts. But one has to have principles and mine are simple to a fault. Laugh if you must- I’ll wait. (Cue 1960’s era laugh track).
That said, I keep reading that ALL games/media writers are somewhat corrupt or in on the payola game and they all can be bought with games, movies and other free media. I suppose I’m making a point and a difference here, But someone has to reign it in at some point as it’s just making proper critical evaluation quite the dying art these days. Call me crazy, but some of the old ways and days need to make a return, purely for sanity’s sake. But that’s just me. I guess.
Probably the best things I can say about director John Guillermin’s 1949 film Torment (aka The Paper Gallows) is it’s only a scant 65 minutes and that time certainly isn’t wasted, as the story gets right to it as soon as the film begins. A man in a trench coat and hat sneaks into a dark house and seems to shoot another man dead. It turns out, that man in the trench coat is Jim Brandon (https://en.wikipedia.org/wiki/Dermot_Walsh), a crime novelist who reenacts violent crimes for his novels but is having a bit of trouble with his latest book. Jim lives with his brother Cliff (https://en.wikipedia.org/wiki/John_Bentley_(actor)) and a pretty live-in secretary, Joan (Rona Anderson). Cliff also writes crime novels with better success, it seems. Cliff and Joan quickly figure out Jim is cooking up a new murder mystery based on the sound of multiple gunshots around the house (and Cliff also discovers Jim is using real bullets this time!). Jim shows up and fails in dictating his new ideas to Joan, but Cliff tamps his now cranky brother down while Joan prepares the evening’s dinner (soup, spaghetti and prunes- yeesh!).
Cliff and Joanie, NOT siting in a tree….
Yes, we find out both siblings have a thing for Joan, but she’s more attracted to Cliff, as he’s a LOT more stable than his brother, who’s more than a little strange, as we’ll soon find out (or if we haven’t guessed already). Cliff mentions that one Curley Wilson (Michael Martin Harvey) is supposed to drop by later that evening to chat. Apparently, Curley is a former criminal with a penchant for lock picking, so the plan is to leave the front door unlocked and let Curley have his fun with it when he arrives, which he does. Cliff goes looking for Curley after he hears what he thinks are movements in another room, but finds a dead cat Jim had strangled earlier during his opening “murder.” Weirdly, Joan is only mildly upset about this once she’s told. Cliff soon finds what he thinks is Curley’s corpse with a knife in his back, but the body vanishes after he tells Joan and worse, Jim suggests they all go to bed soon after, which they do. Curley isn’t found at all, but everyone goes to bed as if nothing happened that evening? But wait, there’s MORE.
MVD sells this on DVD if you really want to see this.
Demanding that “A” for effort and still failing the class..
It was at this point where I had some major questions, but I decided to keep watching because I figured the film would pull itself up from the fresh holes it had dug for itself and the second half would make some kind of sense. But, nooooooo. The film’s single mindedness not only revealed who the murderer was (and too soon at that), the story tried valiantly to toss a few noir-like monkey wrenched plot devices into the mix guaranteed to deceive absolutely no one as the murderer tried to cover some tracks (and actually commit a new murder, to boot). This ends up as a good looking, moody and dark toned film that’s filled with unbelievably strange characters, bizarre situations and one dead cat, whose demise is brushed off one too many times. There’s an awful gunfight/chase late in the movie that’s laughably predictable and the ending feels somewhat unsatisfactory even as a character gets their just desserts. Fortunately, the director made much better films later on in his career, and you can see that growth in specific works. As noted, this only 65 minutes long, so it’s not a total waste of time, but you’ll feel cheated if you go in with any great expectations.
It’s both catty and batty, but a fun watch, as long as you don’t take it seriously.
As a horror anthologies go, The Uncanny starts out strong, but it ends with a few eye rolls and a twist when it doesn’t exactly stick the landing in terms of storytelling prowess. The basic setup has Peter Cushing as Wilbur Gray, a superstitious feline-fearing writer who arrives at book publisher Frank Richards’ (Ray Milland) home one night and tries to convince him to print his book about a trio of cat-related homicides that happened over decades. Naturally, abundant skepticism abounds, but Wilbur does his best to back up his tales of terror with plenty of evidence that he relays in three episodes, the first of which in the best in the film, in my opinion.
Ever have one of those nights?
In London, 1912, Susan Penhaligon plays Janet, maid for an elderly woman, Miss Malkin (Joan Greenwood!) who’s rewritten her will and left her entire fortune to her cats, shutting out her only surviving relative, Michael (Simon Williams). Of course, Janet and Michael are canoodling and in cahoots to conspire copping that kitty from those kitties because what use do cats have for cash money, right? Let’s just say things go all sorts of wrong for Janet after she offs her employer and tries to get her paws on that will. Instead, the cats get their paws on her and munch on Miss Malkin in the process. Nicely done, overall with just a bit of gore where expected.
The next segment takes place in Quebec 1975, where a young girl named Lucy (Katrina Holden Bronson) is adopted after her parents die in a plane crash by a family that’s not much into cats at all. Lucy just so happens to bring along her black cat, Wellington along with a bunch of books and notes about witchcraft, which belonged to her late mother. Hmmm… you can guess what happens next (mostly). While her new father is initially accepting to Lucy and her cat, both her new mom (Alexandra Stewart) and stepsister Angela (Chloe Franks) are hostile to Lucy and want to get rid of the cat almost immediately. Angela even flies a radio-controlled plane after Lucy and Wellington in one scene (clearly a North By Northwest in-joke).
“Look, I pain-ted a cat!”
Anyway, their plan to have Wellington disposed of works and Dad shuttles the cat off to be “taken care of”. Lucy finds out, but Wellington returns (I guess he’s been eating 9 Lives) and you guessed it, it’s revenge time in a sequence that combines bits of The Incredible Shrinking Man and some interesting use of a spell which probably wouldn’t work outside of this segment (or, don’t try this at home, folks). The main issue here is yes, the child acting, where every line sounds over-enunciated and frankly, the adults aren’t much better. The funny thing for me was remembering Chloe Franks’ performance in 1970’s The House That Dripped Blood, where she shows a bit more range. At least she’s got a memorable ending here straight out out of an EC Comics horror tale.
“Ham, ham, ham, ham”
The final episode takes place in Hollywood 1936, where hammy horror actor Valentine De’ath Donald Pleasence kills his wife with a guillotine (he’s replaced the rubber blade with a real one) and convinces the studio to hire his new girlfriend Edwina (Samantha Eggar!) as a suitable replacement. Things go from bat to verse when we find out not only that Edwina can’t act to save her life, she’s an awfully awful screamer as well, not a good thing for a horror film. The cat angle comes into play when De’ath tries to dispose of his ex-wife’s cat, then finds out the cat is female and has had a new litter, whereupon he has the babies cruelly dispatched, setting up the revenge part.
Almost everyone camps it up here, to varying degrees of success. Pleasence channels a bit of Vincent Price and even wears a toupee (or is it two?) over his real hair at one point. The main issue for me is the episode seems as if someone gathered whatever spare costumes were leftover from another “period” film and crafted a script around them. When Edwina paraphrases Tweety Bird at one point and is briefly seen reading a modern comic book (likely the same one from the last episode), that “1936” thing gets a tad sketchy. David Ogden Stiers even shows up a few times, but its almost as if he’s acting in another movie, as he mostly plays it seriously while he’s onscreen. The most mind boggling thing, however, occurs right as the chapter starts and we see a photo of Pleasense as Blofeld along with his white cat, which probably cost the studio more to use than the entire episode to shoot. Granted, I did get a laugh at this intro, but I can see some not getting the gag at all in they’re not aware of the link.
“Does he, or doesn’t he?…”
The ending wraps things up for Cushing in a somewhat predictable manner, with kind of a circular, vengeful kitty squad sort of thing happening. Milland has a sort of last laugh (is he on the cat side here?) and the film clocks out at a tidy 88 minutes, which isn’t too bad at all. Your mileage may vary, of course. But on a foul weather weekend, this isn’t a bad choice at all for a double feature starter flick. Amicus lite, if you like that sort of anthology thing happening here.
Apparently, we really can’t have anything fun anymore (part MMII) because some people want to have it their way in every aspect, not seeing the forest for the trees. Anyway, that’s the recently released Super Mario Bros. movie trailer above, which looks like it’s going to be a fun family movie. While I won’t exactly be rushing out so see it in theaters. I’ll hold out for the eventual cable airing at some point in the future as yes, I’m curious as to how it turns out. It certainly looks like it’ll be interesting despite it being a less active experience that sitting down with a controller in hand.
Now to the nontroversy part (ugh). Apparently there are a bunch of folks hating on Chris Pratt’s otherwise fine (albeit intentionally generic) voice acting performance as Mario. I’d planned to write something more substantial on this and even went to the trouble of researching everything I wanted to use an as example, but cutting to the chase is a better use of time here. There’s other and more urgent fish to fry these days and in the grand scheme of things, this is well below stuff I actually care about.
I’d bet a new penny Illumination and Nintendo are simply future-proofing the character against people who want to call Mario’s old faux Italian accent out as insulting to Italians despite it being around for decades.Times change, things move forward. Granted, I’m sure they could also find another actor to pull off that accent, but I’m not sure Chazz Palminteri, Steve Buscemi, Al Pacino or Robert DeNiro would want to take a shot at this one despite the money. Then again, I’m more concerned some otherwise excellent voice actor is not getting a chance at the role of their career, because they can sound just as normal and generic as Pratt’s version and collect a reasonable paycheck at that.
While there’s no word as to whether Nintendo is planning a video game version of the film (which would already need to be in development), this would definitely cement this new version of the character as definitive, should they have him speaking without the accent. We shall see, as usual. Just try not to be surprised if the companies confirm this at some point.
When I was about 14 or so, I finally noticed that the local public television station had been showing a load of old foreign and domestic films from the late evening into the early morning hours. While I can’t recall the exact date they started, I can remember seeing classics like Seven Samurai, Metropolis, a few Godard films and the occasional silent movie, usually to the effect of me falling asleep on the sofa (hey, not too many kids start out liking everything they watch). It was definitely an eye-opening experience except for me occasionally falling asleep, not really from boredom, but from the films all starting well past my normal bedtime. At least back then, school nights were unaffected by this new hobby although I was pretty useless when I stayed up too late watching all those movies.
“I’m mean, I’m mean, I’m mean – you know what I mean…”
Anyway, one evening I turned the TV on and just missed the opening credits to one film, so all I recall before I passed out about 15 minutes later was a burly guy with a bandaged hand pushing a car down a long road with a seemingly sick or injured passenger inside. The man ends up leaving his passenger alone while he checks out a small castle-like house atop a hill, sneaks in and helps himself to whatever food he can scrounge, including a raw egg. A few years later, I found out that was Roman Polanski’s 1966 film Cul-De-Sac and I ended up tracking the film down at a rental shop here that specialized in obscure films. I also discovered Donald Pleasence in a really quirky role, no truly likeable characters among the main cast and a plot that was a mix of dark comedy and psychological drama which is, of course, better appreciated at an older age.
The next order of business is retrieving Albie (Jack MacGowran), Dickie’s literal partner in crime, before he drowns in the stolen car he’s trapped in. This surprises Dickie as well as Albie, as they doesn’t realize they’re on a small island where the tide isolates the area for a few hours each night. We also learn the unseen crime they were paired up for went south quickly before the film begins. Dickie gets wounded in the wrist, while Albie was shot in the stomach and spends his remaining time in the film hallucinating (he thinks George in makeup is his wife at one point) and later, dies from his wound. Dickie initially starts digging a makeshift grave, but Teresa escapes from the room she’s locked in with George and ends up digging willingly for Dickie after offering him some of her homemade vodka. George eventually wakes up to find Teresa free and Dickie forces him to finish the job. George soon ends up as Dickie’s drinking buddy after he’s coerced into a few drinks (and he doesn’t drink at all, which makes him a bit of a mess when he does imbibe).
Just as you’re getting the idea that this odd and temporary friendship may be a way out of sorts for everyone, things go completely awry (even more so than you’d prefer).
“Somebody put something in my drink…”
To add to the madness, a surprise arrival shakes things up when the expected guests aren’t expected at all (or: hell is indeed other people) and Dickie needs to play servant to the couple to keep a ruse going. Jacqueline Bisset gets a tiny cameo, but an increasingly more unhinged George kicks his new guests out and Dickie gets some more bad news after he fixes the telephone and attacks Teresa after she plays a trick on him. George, now nearly completely out of his mind, gets to prove some sort of manhood to his wife as the film takes itself to its bleak conclusion, but you’re treated to an ending that adds at least one final question if you look carefully, guess that a mind was changed and yes, George probably is in for a even ruder awakening than even his now destroyed mind can imagine. I’m not one to rate a film with a proper score these days, but for it’s unusual plot presentation, Gil Taylor’s great black and white cinematography and Krzysztof Komeda’s jazzy score, this one gets a Recommended mention from this end.
It’s a bit twisted in a few ways…
In case you haven’t guessed, this post is part of The Devilishly Delightful Donald Pleasence Blogathon hosted by Cinematic Catharsis and Realweegiemidget Reviews and other entries can be found at both links starting on October 28, I’m posting a bit early due to some medical stuff coming up ths month, so enjoy my scribbling and please poke at the other posts!
The fun 1937 musical comedy Thoroughbreds Don’t Cry popped up today on TCM and while I usually don’t go out of my way to watch many Mickey Rooney films, this one was quite interesting because it nicely bookends with a certain later TV show. Some of you know where this is going, so just smile and nod, please.
Anyway, I got to laughing at one point for a few key reasons. One being the scene below where after teaching a kid the ropes of riding a race horse, Mickey’s character Timmie Donovan later takes the kid back to his room and attempts to give him a vigorous rubdown, which is unintentionally and hilariously suggestive, as is the previous horse scene.
While this is happening, a young Judy Garland pops up to interrupt things by playing the guitar and singing a catchy song about her new shoes. Don’t believe me? See for yourself, ahem (and just what the heck is going on here?):
“I got my horse right here, his name is Paul Revere…”
Th other funny thing was I immediately thought of The Twilight Zone episode” Last Night of A Jockey”, which was a total solo showcase for Rooney written by Rod Serling. He plays an angry disgraced jockey named Michael Grady who’s accused of horse doping and banned from racing. While in his shabby room, he talks to himself until his alter ego appears and grants him one wish which amusingly enough, goes exactly as planned after he’s reinstated and can start racing again:
“You’re gonna need a bigger boat…”
Anyway, you can pick up the film though Warner Archive here and it’s worth a watch, as it’s the first of eight films Rooney made with Garland, so that’s also important in cinematic as well as historical terms. See, folks- movies like this can also be quite educational when they need to.
An intentionally slow moving, deliberately paced epic “western opera”, Sergio Leone’s now classic Once Upon A Time In The West wasn’t exactly a huge hit back during its 1969 North American release. The film, which was edited for some content (since restored) was probably still somewhat lengthy for audiences of the era and the film’s somewhat glacial pace will be a bit much for some new and impatient viewers.
Interestingly enough, the film is a sweeping and meticulous love letter to the western genre, featuring major and minor visual and aural tips of the hat to many previous westerns. It’s also Leone doing remarkable work with his camera using carefully crafted sets and locations in Spain and some prime locations in Monument Valley to grand effect. There’s also spring loaded tension throughout, such as the brilliant opening sequence where three duster-clad gunmen wait impatiently for a late train to arrive just so they can kill a man (Charles Bronson). Leone uses some humor here to break that tension, having a common fly and dripping water torment two of the men as they wait.
No, he doesn’t do requests…
The would-be assassins fail, save for wounding their target and the film cuts to a man named Brett McBain and his young son hunting birds before taking their catch back home to a ranch named Sweetwater, where the entire McBain family is in turn brutally dispatched by a man named Frank (Henry Fonda!), Then we move to Jill McBain (Claudia Cardinale) arriving via train to the town of Flagstone, where no one is there to meet her (thank to Frank and his men). After the buggy she’s hired to take her to her new home makes an unscheduled stop, we then meet Cheyenne (Jason Robards), an outlaw who’s just escaped from jail and ends up at that spot where he meets his gang. Cheyenne meets a recuperating Bronson, who he dubs “Harmonica” upon seeing and hearing him play while wondering if he can shoot as well. Harmonica initially thinks Cheyenne sent his three of his men to kill him earlier because of the dusters they wear, but he’s soon convinced otherwise. Jill eventually makes it to her new home where we see the bodies of the family laid out and a small group of neighbors waiting to give her the sad news. Before the funeral, evidence of Cheyenne’s involvement in the murders is revealed, but Frank is actually responsible.
The next time he rode a train, he made sure no one would shoot him.
It turns out Frank is working for a very wealthy man named Morton, who’s got a disability and travels in a specially customized train. Morton admonishes Frank for killing the family instead of scaring them off, to which Frank coldly replies: “People are only scared when they’re dying”(ouch). Morton wants Sweetwater for its proximity to the railroad and its water source, both of which will add to his wealth, but he doesn’t realize Frank also has his own plans for the property. Meanwhile, Jill is the sole owner of Sweetwater now that her family has been killed and yes, Frank has plans for her as well. Both Cheyenne and Harmonica figure out what Frank is up to, but both men have their own plans for dealing with him and fate also drops into the picture. The theme of water plays so heavily here that I thought of Chinatown for a moment once the overall story was finally revealed. This is a film that takes its sweet time to fully display its plot, using Bronson’s character as the near-silent observer/detective and his reason for being a bit vengeance minded is finally revealed after a trio of initially hazy flashback sequences are spread throughout the film that eventually tell a tragic tale.
John Ford was here…
There’s a lot more, but we’ll talk instead about how Leone’s superb attention to detail in everything from the sets to costumes to his work with composer Ennio Morricone that make this a film worth watching. The scope of the film is constantly amazing down the finest details to the dozens of extras in full costume for a single scenes. Jill’s arrival in Flagstone goes from crowd shot to crane shot to show of the dusty non-splendor of the growing railroad town and as expected, Leone gets in some truly outstanding closeup shots. Morricone has a theme for each of the four main characters and there’s a few uses of sound design in lieu of score, like how the film opens using a mix of insects, a constantly squeaky windmill and other amplified bits. The film stretches scenes and can be deliberately confusing in spots, but that’s Leone wanting viewers to figure out things out as Harmonica does.
Oh don’t you know, that’s the sound of the men working on the train gang?
In other words, take the time to watch this and you’ll be surprised at how well this film works not only as western, but also as a homage to other past westerns. Hey, if you sat through a three hour Batman film, this will be a cakewalk, right? Cheyenne says make a fresh pot of coffee and have it handy (you’ll get the reference from watching the film). by the way, this post is part of The Foreign Western Blogathon hosted by Moon in Gemini. Pop on by and take a peek at the other submissions for other genre faves!
"DESTROY ALL FANBOYS!" 