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I have not seen this one for years. I am glad to have it now again, certainly one of the best Western of all time.
It gives us a lesson to all, and particularly for all old goats...
Someone said also an outstanding music, and so it is, bringing a genre music to new almost " classical " way.An outsating show.
Follow Ups:
I'm embarrassed to admit this was my first viewing-it's so impressive I've spent the last few hours wondering how on earth I made it to age 47 before my first encounter. Burl Ives was a revelation-the image of the kindly old man singing Blue Tail Fly and Holly, Jolly Christmas is gone forever! The scene where he bursts in unannounced at the party to welcome McKay is perfect, a marvel of tension, as is the final duel between McKay and the black sheep Hennessey son (Chuck Connors is great in this role). Beautiful cinematography, with the western landscape beautifully filmed, worthy of Ford and an integral part of the story itself. Some of the best work I've ever seen from Gregory Peck, too-he appears something of a dandy when he first arrives by coach, but one soon finds out there is much, much more than meets the eye. A wonderfully centered, thoughtful, moral character. The Jerome Moross film score is one of the best, too.
Worthy of Ford? Ha! You see that is what I ask myself too. But unlike you, I told me " Not so, son "Then another thing was, Peck is supposed to be a real man, not giving in, but...in the end he did!
If he would have not then the film would have been to be defined again.
I found him ( Peck ) a little too polished, the same way as with Hustonīs Captain Ahab , but still good enough, and there is this music in a Wagnerian way which did not have Ford...A most enjoyable show. Glad you like it!!!
See that Brasilian film I mentioned in the thread below.
If you like Godard, you may love it.
I do not like Godard.
But I am willing to revisited him, some day, soon.
Worse, I have at least forty DVDīs waiting to be seen and what?
I prefer to re-re look at the one I know by heart.
That is the beginning of the end of an old goat.
Must be.
eccentricities.
The camera movements are "natural" though as the camera unrelentingly moves about the scene, one is not aware of it because of the framing of the characters. It produces an amazing effect, opening up the usually "squared" frame.
I was amazed, after hearing an interview with one of the film's principal actors, that Rocha didn't believe in multiple scene takes. He would have the actors go off to practice then call them together. He would stand beside or behind the cinematographer, calling out instructions, in turn cajoling, cursing, or complimenting: scenes were filmed in ONE take. This was the case for both Terra em Transe and the Devil and God. Amazing.
Rocha felt that second, third, fourth takes were worthless because the actor's energy became less after the initial expenditure.
Rocha is as much Eisenstein and Pasolini as he is Godard. In other words, he is an "original."
There are many way to direct.
Some directors WANT 100 and more takes, as to " empty " the actors...
Some donīt both schools had have oustanding result.
As one take one roll, think of " The Rope...."--
Nothing new under the blue, blue sky.
as
I am not quite certain about what you are saying here.
Hitch had a story board in his mind, put it down on paper, and that was it for him, the rest was rather boring in his mind.
The making of " The Rope " was made in a studio who could transform itself and he film it as long the film roll could.
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