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Showdowns, stampedes, stunning horsemanship, bank robbing, slap-stick comedy, fist fights and plenty of cheesy dialogue like “Whippersnapper” and “Golly Gee”  is all part of the experience of the 40’s, 50’s and 60’s style spaghetti westerns.

Some of this oldtime western collection is in black and white goodness that will take you back to the good old days of cap guns and no blood gut shots; the good guys always win and get the girl in the end. A few of the films are in glorious 60’s technicolor and captures a few great cinematic moments in western film history.

Westerns in the Good Old Days
1 Star

(Giddy Up!)

Showdowns, stampedes, stunning horsemanship, bank robbing, slap-stick comedy, fist fights and plenty of cheesy dialogue like “Whippersnapper” and “Golly Gee”  is all part of the experience of the 40’s, 50’s and 60’s style spaghetti westerns.

Some of this oldtime western collection is in black and white goodness that will take you back to the good old days of cap guns and no blood gut shots; the good guys always win and get the girl in the end. A few of the films are in glorious 60’s technicolor and captures a few great cinematic moments in western film history.

Bonanza Town (1951)
Atop his trusty white steed, The Durango Kid (Charles Starrett) saddles up once again to save the day. A silly slap stick sing along western about a $30,000 Dodge City hold up and murderous vigilantes of Bonanza Town. The Durango Kid and his silly side kick, Smiley Burnette, work together to rid Bonanza Town of the evildoers, Henry Hardison (Fred F. Sears) and Krag Boseman (Myron Healey). Charles Starrett was among the top ten western stars until his retirement in 1952.

Texas (1941)
Dan Thomas (William Holden) and Tod Ramsey (Glenn Ford) are two adventurous friends looking for fortune and glory, but their little trip in the Lone Star state goes awry. Witnessing a stagecoach hold up, the rough and tumble drifters decide to take the loot for themselves and head their separate ways. Crossing each others path on down the line, the two friends find themselves in love with the same woman and on opposite sides of the law. Snappy dialogue and bare knuckle boxing gives the right amount of old time western goodness to Texas.

The Texican (1966)
A story about a reformed gunfighter, Jess Carlin (Audie Murphy), coming out of hiding to bring justice to the villain who killed his brother, Roy (Victor Vilanova). Jess sets out to capture Luke Starr (Broderick Crawford), land baron and the man to blame for his brother’s untimely death. Jess must side step the attempts on his life by Luke’s goons and keep his neck from the noose from a bounty on his head for a murder he did not commit. Along the way he falls in love with a beautiful dance hall girl Kit O’Neal (Diana Lorys) and saves the day in the end.

The Desperadoes (1943)
The Desperadoes has it all, wild horse stampedes, barroom brawls, action, romance, and yes, it’s even in color; it’s Columbia’s first Technicolor film. The Desperadoes is, at the very most, a film engrossed in western movie cliches and icons. Cheyenne Rogers (Glenn Ford), a hunted gunman, rides into Red Valley, to find himself head over hills for the seductive Allison McLeod (Evelyn Keyes) and up to his holsters with underhanded town folk. Cheyenne takes on the job of cleaning up the lawlessness of Red Valley.

Good Day For A Hanging (1959)
Eddie ‘The Kid’ Campbell (Robert Vaughn) started out as a young rowdy buck in a low down dirty bank robbing gang. With a little help from Marshal Ben Cutler (Fred MacMurray), Eddie cleans up his act and tries the straight and narrow. Many years later the gang comes back to rob the bank again and Marshal Ben gets shot in the mix. The gang’s lawyer, being the only eye witness, frames Eddie for the murder and gets him a meeting with the noose. With the help of his sweetheart, the dead marshal’s daughter, Laurie Cutler (Joan Blackman), Eddie convinces the town of his innocence and brings the murderer to justice.

The Professionals (1966)
The Professionals is an adaptation from Frank O’Rourke’s novel, [I]A Mule for the Marquesa[/I]. J.W. Grant (Ralph Bellamy), Texas oil tycoon, hires a group of men to rescue his wife, Maria (Claudia Cardinale) from the Mexican revolutionary Raza (Jack Palance). The group of men hired includes Rico Farden (Lee Marvin) a weapons expert, Jake Sharp (Woody Strode) long bow expert and tracker, Hans Ehrengard (Robert Ryan) kick ass horseman and Bill Dolworth (Burt Lancaster) an explosives expert. The Professionals was nominated for 3 Oscars between cinematography, direction and screenplay. This film has it all, beautiful cinematic scenery, a talented cast, western action adventure and plenty of heroes out to save the day and the girl.

Oldtime western goodness. Most, if not all, of the westerns made in the 40’s and 50’s were lacking authenticity. The creators would use modern props, clothing and dialogue with out any consideration to the true style of the old west. There would be electrical lighting and gadgets, well pressed pants and sparkling new boots in a black and white western; it’s hard to watch such a film and really be able to put yourself into that fantasy world. We have come along way in film and it shows; research is put into scripts and stage setting and our acting abilities have more than tripled. Many old western actors are just that, only actors reading dialogue with little natural response to each other. It’s hard to believe that the silent films looked more real in on screen scenarios with out dialogue than the films that came shortly after. Then again it is only the movies.

A retro science-fiction epic set in Victorian England, Steamboy features an inventor prodigy named Ray Steam who receives a mysterious metal ball containing a new form of energy capable of powering an entire nation. This young boy must use it to fight evil, redeem his family, and save London from destruction. The lush Victorian interiors and the elegance of the era’s mechanical design allows Otomo to create dazzling visual backgrounds and machines for this film. With more than 180,000 drawing and 400 CG cuts, Steamboy is sure to be one of the most elaborate animated features of 2004.—© Sony Pictures

STEAMBOY
2 Stars

(Release Date: Spring 2005)

A retro science-fiction epic set in Victorian England, Steamboy features an inventor prodigy named Ray Steam who receives a mysterious metal ball containing a new form of energy capable of powering an entire nation. This young boy must use it to fight evil, redeem his family, and save London from destruction. The lush Victorian interiors and the elegance of the era’s mechanical design allows Otomo to create dazzling visual backgrounds and machines for this film. With more than 180,000 drawing and 400 CG cuts, Steamboy is sure to be one of the most elaborate animated features of 2004.—© Sony Pictures

Never in my life have I ever seen so much detail in an animated film. The general world that exists in this movie is set in some parallel universe in the late 1800’s. Everything decidedly, is powered by steam. I mean everything. Which means that every vehicle or contraption is huge, lumbering, heavy, and shooting with steam. Somewhere in the back ground I think I saw a bowl of oatmeal, powered by steam of course.

The movie for the most part, is an action movie. It’s an action movie as the Japanese would do it anyway, which involves philosophy and some actual dialog. Overall, the story doesn’t hold a candle to the visuals. Not a bad thing considering that the visuals speak for themselves. I suppose one gripe I have is somewhere near the end of the movie. There’s this building pressure, the music swells, and you think, “Well, it’s ending soon here. Where are my keys? How am I going to pay for my house? The loan collectors will be here Tuesday. Maybe I can sell one of the children. Yes. Steve will get me something near 12 grand. Little Lucy could be rented into slavery. Good. I can finally be at ease and rent that nice video I’ve always wanted to see and then gravy train cow—What?”.

All of the sudden, the movie takes a 90 degree turn. It even befuddles one of the main characters. I don’t know if it was supposed to be funny or not. It seemed funny at the time anyway.

Another word of advice. If you have a problem with charming english accents, regardless of danger or zeal, you probably should back far far away from this movie. In the end, it’s a movie about man vs. man vs. nature. Naturally, nature wins out, because man is doomed to suckery.

As a film, The Woodsman is somewhat unfulfilling (outside of it’s excellent performances all around) as it’s episodic narrative and periods of utter silence are at times heavy-handed and repetitive, but it’s a powerful film about the need for redemption for those things inside that aren’t always under our control. It’s a moody and haunting film that doesn’t attempt to reach a conclusion as much as it seeks only to open a window into a world we don’t necessarily wish to see.

The Woodsman
3 & 1/2 Stars

A film with a convicted pedophile as it’s sympathetic main character is a pretty hard sell, even with the critical acclaim of Michael Cuesta’s L.I.E. and Todd Solondz’s Happiness, which makes Nicole Kessel’s The Woodsman all the more effective.

Kevin Bacon stars as Walter, a recently released pedophile who spent 12 years in prison for molesting little girls, and who’s transition to outside life is weighed down by more than just the trials and tribulations any released con might experience. Kyra Sedgwick plays the rough and tumble co-worker who’s persistent and accepting enough to make a place for herself in his otherwise solitary life. Walter’s crimes (and the impulses that created them) aren’t something that can be willed away or easily suppressed, and everyday is a constant struggle to achieve some semblance of a normal life. Outcast from his family and friends and viewed with justified suspicion by a concerned cop (an excellent Mos Def), Walter spends his days alone with his thoughts and desires.

Bacon gives what may well be one of the best performances of his career as the tortured Walter. Each and every look, sigh, and action is burdened with an almost physical sense of shame and regret. He’s haunted by his actions, and is palpatably fearful of what he may yet do. Less a story than an extended look into the mind of an individual who’s mere existence is an affront to all we hold dear as a society, The Woodsman never passes judgment, as Walter does so to himself over and over again. The roots of his desires are left murky (as are the specifics of his crimes), so all we are left with are the questions of how anyone can stop those thoughts that come unbidden to our mind. Bacon’s performance is certainly a riveting one. His face has never been so expressive as those moments when his eyes convey a man just inches away from an impossible abyss.

As a film, The Woodsman is somewhat unfulfilling (outside of it’s excellent performances all around) as it’s episodic narrative and periods of utter silence are at times heavy-handed and repetitive, but it’s a powerful film about the need for redemption for those things inside that aren’t always under our control. It’s a moody and haunting film that doesn’t attempt to reach a conclusion as much as it seeks only to open a window into a world we don’t necessarily wish to see.

The Woodsman is certainly no party film (unless your parties often turn into think pieces about child molestation), but it’s exceptional cast and compelling subject matter will certainly generate discussion after viewing. A study of a man constantly at war with himself, The Woodsman makes for an excellent foray into worlds we’re uncomfortable contemplating.

Taking place in 9th Century China, the story revolves around a group of underground revolutionaries and the agents out to stop them from overthrowing an incompetent Emperor. Takeshi Kaneshiro (who I hadn’t seen in a film since the absolutely perfect Chungking Express by Wong Kar Wai) plays a government officer who goes undercover to win the trust of Mei (Zhang Ziyi), a blind courtesan (and martial artist, of course) with ties to the titular House of Flying Daggers, in the hopes that she’ll lead him to the groups mysterious leader. As they try to outrun the government forces at their back, Kaneshiro’s Jin falls for the deadly beauty putting him at odds with both sides, which results in a myriad of lavishly staged fight sequences. Every character has a second agenda, and ultimately each must decide whether their alligiances lie with their individual causes or their hearts.

Overall, it’s beginning to looks as if Ang Lee’s Crouching Tiger, Hidden Dragon didn’t set the epic romance/martial arts film bar high as much as he blew it out of the atmosphere, where no other filmmaker can manage to meet it. House of Flying Daggers gets closer to that standard than Zhang Yimou’s Hero, but until he remembers how he made all those incredible character-driven films of his early career, Zhang’s action films won’t be able to lift themselves beyond Hollywood-esque eye candy.

House of Flying Daggers
3 Stars

I missed Zhang Yimou’s (Raise the Red Lantern, Ju Duo, The Story of Qui Ju, Shanghai Triad) newest film, House of Flying Daggers, in the theater, so I was looking forward to sitting down with our advance copy of the April 22nd DVD release.

Zhang’s earlier work was powerful stuff, and he was exceptional at slipping political and social commentary past the strict government censors. For almost 10 years, Zhang was an absolute powerhouse of China’s “Fifth Generation” filmakers. After a light road movie (The Road Home) and a so-so comedy (Happy Times), Zhang moved into epic action territory with 2002’s Hero, a star studded history lesson wrapped in a visually sumptuous (but ultimately unfulfilling) swords and romance film. Zhang’s exceptional eye for color and setting combined with gorgeous action sets wasn’t enough to fill out a film that was cold and dispassionate, despite the intricate and powerful relationships of it’s characters.

While the upcoming DVD release of 2004’s House of Flying Daggers shares Hero’s stunning color palette’s and sweeping cinematography, it also stumbles over the same pitfalls, unable to make it’s characters’ passions as vibrant and engaging as the scenery and costumes.

Taking place in 9th Century China, the story revolves around a group of underground revolutionaries and the agents out to stop them from overthrowing an incompetent Emperor. Takeshi Kaneshiro (who I hadn’t seen in a film since the absolutely perfect Chungking Express by Wong Kar Wai) plays a government officer who goes undercover to win the trust of Mei (Zhang Ziyi), a blind courtesan (and martial artist, of course) with ties to the titular House of Flying Daggers, in the hopes that she’ll lead him to the groups mysterious leader. As they try to outrun the government forces at their back, Kaneshiro’s Jin falls for the deadly beauty putting him at odds with both sides, which results in a myriad of lavishly staged fight sequences. Every character has a second agenda, and ultimately each must decide whether their alligiances lie with their individual causes or their hearts.

Hot Sword on Sword Action

This is indeed a gorgeous film to look at, but I was struck by how Hollywood it felt. Sweeping camera work (Oscar nominated, no less), copious CGI, the inevitable multiple death-bed confessions, and reveals left me thinking that had you transposed the setting, this could have been a Tom Cruise vehicle. For characters in the throes of emotion strong enough to shatter their obligations, House of Flying daggers was noticably berift of any real passion. The fight sequences, while well staged, were too bogged down with needless slow-motion shots and an overemphasis on CGI. To be sure there are two stand-out moments: an early showcase of Zhang Ziyi’s skills in a circle of drums was acrobatic treat. And the final confrontation between to men fighting for Mei’s heart was intensely powerful and compelling. But that wasn’t enough to stifle my ‘Oh, come on!’ as each hidden agenda was revealed.

Though that does bring up something I noticed by the end of House of Flying Daggers. Between Crouching Tiger, Hidden Dragon, Hero, and House of Flying Daggers, I’ve come to one powerful realization: Zhang Ziyi is absolute poison. Drop dead gorgeous, lithe and acrobatic, yes. But you get emotionally involved with one of her characters and you might as well stab that dagger straight into your own heart. She’s trouble I tell ya.

Okay, so she’s worth the trouble

As a DVD release, House of Flying Daggers has two “Making Of” featurettes, commentary by Ziyi and Yimou (Which felt somewhat perfunctory, though entertaining), storyboard comparisons, the Kathleen Battle version of the film’s love theme, photo galleries, and my favorite, the costuming sketches. That’s right, I said it. I liked the costumes. They were just gorgeous to look at it. Elegant, cool, and exotic as hell. So there. Nyah-nyah. For a single disc, this DVD has a decent collection of special features which should allow viewers to get their fill of this sumptious eye-candy. As for the look and sound of the DVD, I was very happy with the Dolby Digital mix, which was put to excellent use in a couple of scenes. Clear speech and effects, with music never overpowering the actors , it was easy for my poor battered rock ears to distinguish the sounds. The picture was crystal clear on my television, and the colors were super crisp.  My only real complaint would be the sub-par box art, for which Hollywood’s air-brush interns finally got a chance to go hog wild.  Here’s a hint, guys:  Zhang Ziyi does NOT need your help looking good.  Dress her in burlap and polyester and she’d still be knock-out.  Her skin is already flawless, so keep your airbrushing to yourselves next time.

Overall, it’s beginning to looks as if Ang Lee’s Crouching Tiger, Hidden Dragon didn’t set the epic romance/martial arts film bar high as much as he blew it out of the atmosphere, where no other filmmaker can manage to meet it. House of Flying Daggers gets closer to that standard than Zhang Yimou’s Hero, but until he remembers how he made all those incredible character-driven films of his early career, Zhang’s action films won’t be able to lift themselves beyond Hollywood-esque eye candy.