Tag Archives: Custer

We All Have It Coming: Top 5 Westerns

No Spoilers

Unforgiven

When you hear the term “Western” for a film or mini-series, you might think lone cowboys riding the line, cattle treks, a lawman protecting his town, or even the classic rags-to-riches story of a cattleman trying to build an empire then pass it on to his family. But there are many sub-genres of “Western” films that are more interesting and exciting than the predictable cowboy movie.

Most of the Westerns I favor fall into what are usually considered the sub-genres, with some of them not even taking place in the American West, for example, but containing the iconic character motifs and themes present in Western films. Sometimes called “Spaghetti Westerns” and sometimes classified as “Action & Adventure,” all these films still resonate with elements that make the Western iconic in Hollywood, and imitated worldwide.

My top five Western films and mini-series are sometimes set in the American West; often they are not. But their characters, storylines, and themes make them powerful films that I watch over and over. They don’t always end happily, lest you think I’m some kind of HEA-girl, but even if they don’t end happily, they end honestly, with the finale of the movie developing out of the characters’ natures, their conflicts, and the decisions they’ve made previously — either in the film itself or in their lives before the events in the story take place.

And, yes, Deadwood — the series — is one of my favorite Westerns of all times, and can read about it in detail in No One Gets Out Alive, but it’s a series, and I’ve dealt with it in detail elsewhere. This group of five westerns originally appeared in a post about my top 10 Westerns, but I shortened that post to update it, including trailers and availability, and dividing it into two posts so that people might have a chance to explore the films without feeling overwhelmed. The original films #10-6 are now in I’m Your Huckleberry: 5 More Top Westerns. Here are my top Westerns.

The Wild Bunch
(1969)

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Sam Pekinpah’s epic 1969 Western The Wild Bunch deals with an aging gang of gunfighters, on the Texas-Mexico border, trying to cope with the “modern” world (of 1913), in which they have become obsolete. The Wild Bunch has a stellar cast, including William Holden, Robert Ryan, Warren Oates, Ben Johnson, and Ernest Borgnine, all giving outstanding performances.

Controversial because of its graphic violence and its morally dubious characters, the film has nevertheless secured its place among top Westerns, and is considered “culturally, historically, and aesthetically significant” by the National Film Registry and the American Film Institute. It was also nominated for many awards, winning several.

Its famous portrayal of obsolete icons attempting to survive, by any means possible, reflects all aspects of any culture that gets overtaken by progress and technology. Since many settlers in this country went West to escape the culture and “laws” of the East, The Wild Bunch is a brilliantly ironic commentary on when the West itself became overrun by “civilization.”

The Wild Bunch is available to rent for $3.99 from Amazon, and YouTube.


Lonesome Dove
(1989)

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Based on the best-selling Pulitzer Prize-winning novel of the same name by Larry McMurtry, Lonesome Dove is not a film but a mini-series, and when it came out in 1989, it was considered an incredibly ambitious project. It garnered praise, high viewership, and was credited with “reviving” the mini-series genre.

Filled with big-name stars like Robert Duvall, Tommy Lee Jones, Danny Glover, Ricky Schroeder, Diane Lane, Anjelica Huston, Chris Cooper, Barry Corbin, Frederick Forrest, and Robert Urich, the story covers partners’ Gus (Duvall) and Call (Jones) cattle-drive from the virtually deserted Texas town of Lonesome Dove to an “Eden-like” Montana (where none of them has been), encountering many hardships and disasters along the way.

A coming-of-age story involving the younger characters, which contains the Archetypes of the Journey as well as the “Wise Old Man” passing on his knowledge to the worthy younger hero(es), this Western classic also has what few others have: strong female characters.

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Though the roles of Clara (Huston) and Lorie (Lane) are subordinate to those of most of the minor male characters, they’re still essential to the storyline. Their characters force the males to become more than cowboys, and add depth and richness to this powerful exploration of the American West and its familiar themes in Westerns.

Lonesome Dove is available for purchase from Amazon (4 part mini-series, $2.99 each episode or $9.99  for all 4 episodes) and for streaming with Hulu. Free for Starz subscribers. (Note: This trailer is for the 20th anniversary of the award-winning series.)


Son of the Morning Star
(1991)

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Based on the non-fiction book of the same name by Evan S. Connell, this is one of the best treatments (book & two-part mini-series) of the morally ambiguous George Armstrong Custer (Gary Cole) during the Plains Indian Wars, ending with the Battle of Little Big Horn.

Unique because it tells the story from two perspectives, that of the whites and of the Native Americans, it is narrated by Custer’s wife Libbie (Rosanna Arquette) as well as by Kate Bighead (voice of Buffy Saint-Marie), the mini-series also stars Rodney Grant as Crazy Horse, and Floyd Red Crow Westerman as Sitting Bull.

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Closely following the original book in one of the most balanced portrayals of the Indian Wars, the Fetterman Massacre, and the Battle of Little Big Horn, where Custer’s defeat increased the US government’s determination to eliminate all Indians who were not “imprisoned” on reservations, Son of the Morning Star — despite its title’s allusion to Lucifer and his rebellion against God — is an excellent example of Hollywood’s ability to honestly evaluate and portray its subjugation of America’s native peoples, its confiscation of their lands, and their justified outrage and retaliation.

(Apologies: There is no official trailer for Son of the Morning Star and, alas, it does not seem to be available for online viewing. The only copies for purchase at Amazon are VHS and one non-region-1, i.e., non-US, Spanish DVD.)


Duck, You Sucker
(1971)

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Directed by Sergio Leone, this is one of those Westerns that doesn’t have cowboys, horses, or cattle. And it takes place in Mexico during its Revolution rather than in the American West. But there are lots of guns, explosions, and battles; a bang-up score by Ennio Morricone, and stellar performances by James Coburn, as the outlaw Irish Revolutionary Seán (John) Mallory trying to “get it right” in Mexico, and by Rod Steiger as Mexican thief and father to a large family Juan Miranda, who doesn’t want anything to do with the Revolution because he just wants to fulfill his life’s dream of robbing the biggest bank he’s ever heard of: the Mesa Verde National Bank.

Despite the film’s constantly being edited (too politically sensitive, too violent, too much profanity), despite its being marketed variously as a comedy or a satire of westerns (it’s neither), despite its rather strange title, which is apparently a bad translation of the Italian Giù la Testa, and despite the film’s subsequent release under various titles such as A Fistful of Dynamite (Irish John is an explosives expert, and the alternate title is an allusion to Leone’s A Fistful of Dollars), and Once Upon a Time… the Revolution (since it is considered the second film of Leone’s trilogy which contains Once Upon a Time in the West and Once Upon a Time in America), this film — the last Western Leone directed — is one of his best.

Bear in mind that I’m saying that as a huge Clint Eastwood fan, one who grew up more familiar with Clint and Leone’s “Spaghetti Westerns” than with some of the Hollywood classic Westerns.

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What makes Duck, You Sucker one of the best  is the chemistry between Coburn and Steiger who, as “John and Juan” form a bond that forces each of their characters to change. The experienced intellectual John begins to see the human element in any revolution while the cynical and amoral Juan, who initially cannot be trusted by anyone, stops thinking of himself and his own selfish gain, learning to care about his family as individuals (he doesn’t even know how many sons he has in the beginning of the film),  his friend John, and his country.

Despite its setting, Leone claimed he never intended the film to be political, and despite its setting, Leone succeeded, due in large part to the chemistry between its stars. Coburn and Steiger make you believe in their evolving friendship and commitment to each other, not just as voluntary/involuntary revolutionaries, respectively, but as people. No longer physical or emotional loners, they become genuinely attached to each other.

The film’s original reception was lukewarm, but it has gained popularity in recent years. Justifiably so, since its excellent treatment of the themes of the individual vs. society, loyalty to personal codes of conduct and honor, private justice, wandering protagonists, and conquering the Wilderness are all prominent in the Western genre.

Duck, You Sucker is available from for $2.99  Amazon and for $3.99 (under the title A Fistful of Dynamite) from iTunes.


Unforgiven
(1992)

images-9One of the darkest Westerns ever made, dealing frankly with the uglier aspects of violence and how, when glamorized, violence makes “myths” and “legends” out of trigger-happy drunkards and bullies, Unforgiven, directed by and starring Clint Eastwood, as “retired gunfighter” William Munny, takes the prize for the best Western.

In Unforgiven, the simplistic myths of the Old West are revealed for the complex combination of lies, exaggeration, and terrible truths that they are. Archetypes abound, but in stunning new ways. The “Kid” (Jamz Woolvett) who wants to attain fame by killing some “cowboys who cut up some whore,” recruits master gunfighter William Munny (Eastwood) “who’s killed women and children” and who repeatedly claims that he “ain’t like that no more” to help him track down the “bad guys.” Munny brings along his partner Ned (Morgan Freeman) who, though surprised by the request, thinks the reward money might come in handy keeping his farm solvent.

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Nothing goes as expected, because this is a Western that shows the truth about the Old West. In the town of Big Whiskey, the trio meets iron-fisted Sherriff “Little Bill” Daggett (Gene Hackman, in an Oscar-winning performance), who has already beaten, humiliated, and banished one hired gunman, English Bob (Richard Harris, in a minor but memorable role) who came to claim the reward money for getting vengeance for the “cut-up whore.”

Honest about violence, humorous and satirical at times, Unforgiven displays the best that the Western can offer: it is a tribute to the genre even as it illuminates its flaws, a loving and respectful homage that never loses sight of the danger of a life without rules, as well as the moral vacuity of  a life ruled by killing others, sometimes for reward money, sometimes for dubious fame, sometimes for no reason at all. Or, as Eastwood’s Munny states, “not for any reason I could remember once I sobered up.”

Unforgivenis available from Amazon and YouTube, and for purchase only ($14.99) in iTunes. Free for subscribers of Sundance Channel.

My original Top 10 Westerns post 
If You’re Going to Shoot,
Shoot: Don’t Talk

is now divided into two posts,
updated with official trailers and film availability:


We All Have It Coming:
Top 5 Westerns

and


I’m Your Huckleberry:
5 More Top Westerns

(originally films #6-10)

Related Posts

It Ain’t How You’re Buried That’s Important:
3 Western Coming-of-Age Films

I Ain’t Never Been No Hero:
More Great Westerns

No One Gets Out Alive:
Why You Need to Watch HBO’s Deadwood

Deadwood Strikes Gold!
Again! Still!

The Sutherlands’ Forsaken Is No Unforgiven,
Though It Tries to Be

My Favorite Film & TV Villains

Leave a Comment

Filed under Actors, Classic Films, Classics, Film Videos, Films, Films/Movies, Historical Drama, Movies/Films, Movies/Television, Official Film Trailers, Official Movie Trailers, Official Trailers, Videos, Westerns

“If you’re going to shoot, shoot: don’t talk”: Top 10 Westerns

My original Top 10 Westerns post If You’re Going to Shoot, Shoot: Don’t Talk is now divided into two posts,
updated with official trailers and film availability:

We All Have It Coming:
Top 5 Westerns

and

I’m Your Huckleberry:
5 More Top Westerns

(originally films #6-10)

Related Posts

It Ain’t How You’re Buried That’s Important:
3 Western Coming-of-Age Films

I Ain’t Never Been No Hero:
More Great Westerns

No One Gets Out Alive:
Why You Need to Watch HBO’s Deadwood

Deadwood Strikes Gold!
Again! Still!

The Sutherlands’ Forsaken Is No Unforgiven,
Though It Tries to Be

My Favorite Film & TV Villains

Leave a Comment

Filed under Actors, Movies/Films, Movies/Television

How We Know the Dancer from the Dance

O body swayed to music, O brightening glance,
How can we know the dancer from the dance?

William Butler Yeats
“Among School Children”

Martha Graham by Max Waldman 1976 ©

Those two beautiful lines at the start of this post conclude William Butler Yeats’ intense recollection of his own childhood and life as he walks “Among School Children,” and when I first read the poem in school and asked, “How can we know the dancer from the dance?” the less than illustrious professor said, almost snarling at my apparent stupidity, “We can’t. Why do you think he wrote that?”

I wondered at the professor’s lack of insight, thinking that, once again, I would be left to my own devices to discover why the poet had written that line as a question, not as a statement.

Since I was used to having my interpretations of literature mocked by classmates and teachers alike, or to having the teachers simply stare at me in bewildered dismay when I asked questions or gave my thoughts on the art, I wasn’t too upset by the professor’s attitude.

Disappointed, but not too surprised or upset. I’d thought college was to be a great place of learning and independent thinking: instead, it seemed to be very much like high school, which bored me unimaginably.

Mikhail Baryshnikov by Max Waldman 1976 ©

So, away I went, ceaselessly pondering how one does, indeed, know the dancer from the dance. It didn’t take me too long to figure it out. Being a great lover of the ballet, and fan of both Rudolf Nureyev and Mikhail Baryshnikov, I already had two dancers and their dances to consider. The answer soon came to me: We know the dancer from the dance only when both dancers perform the same dance: then we can determine the dancer’s skill, interpretation, and talent from the steps of the dance itself.

Rudolph Nureyev by Richard Avedon 1962 ©

Then something else struck me. Every day, virtually all of us compare dancers and their dance. Not Nureyev and Baryshnikov necessarily, but the “dancers” that we see in our everyday lives.

When the starting quarterback is injured and the backup quarterback comes in to finish the game, his playing skills are immediately and punishingly compared to the “original”: sometimes the backup quarterback dances the dance so well, he achieves his own fame. Usually, there’s a reason he’s the backup quarterback, and even if he performs well for a few games, his dance usually falters eventually.

The same thing happened in the 2012 NFL football season with the professional referees, who were on strike and were replaced by amateurs. Everyone, from the players to the fans to the announcers, bemoaned the dreadful incompetence of the substitute referees. They were simply unable to dance the complex professional dance, and all cheered the return of the real dancers.

Natalia Makarova, by Max Waldman 1976 ©

Each time a remake of a film is made, we analyze how the latest actor did the role when placed beside those who came before him. How many times has Jane Austen’s Pride and Prejudice been made, and how many times has each actor’s performance been analyzed in terms of previous ones?

In addition to her dance as Lizzie in Pride & Prejudice, Keira Knightley danced in the remake of Anna Karenina (at least 18 film versions have been made, starring everyone from Greta Garbo to Vivien Leigh, and seven television adaptations), and many viewers compare each new Anna Karenina’s dance to those that came before, as this montage shows.

Meryl Streep, originally trained as an operatic singer, out-danced the original singers in ABBA when she performed “The Winner Takes it All” (in one take) for Mama Mia, stunning the writers of the song with her dance.

Each actor who dances the role of Batman is compared to all those before him; Heath Ledger’s dance of Joker from the Batman franchise is considered the epitome of that particular dance.

Each performer who dances the role of James Bond is compared to Sean Connery’s signature dance. Dickens’ Christmas Carol has been danced countless times, on stage, for television, and for film, and each dancer’s dance is unique. For Bram Stoker’s classic Dracula, Gary Oldman wins my vote for his dance of this role, and not for the special effects. For Herman Melville’s famous Captain Ahab from Moby-Dick, Gregory Peck, though a fine dancer, was simply too young when he danced that role, so Patrick Stewart’s interpretation of that dance is incomparably better.

Each history/biography of Custer and his Battle at the Little BigHorn is analyzed not so much for its own value as for how well the dancer interprets this dance compared to all the Custer histories and biographies that are already available. The same is true for those who dance the histories of Marie Antoinette, Julius Caesar, Spartacus, Napoleon, King Henry VIII or any of his six wives.

In short, in all sorts of “theaters,” we compare the dancers and the dance in order to determine who performs a particular dance best.

Mikhail Baryshnikov

Surprisingly, almost 40 years after that first professor said, “you can’t tell the dancer from the dance,” a song brought me around to this speculation again: Goyte’s “Somebody That I Used to Know,” one of the best “break-up” songs ever written.

Originally written and performed by Goyte, a Belgian-Australian musician/singer/songwriter named Wouter De Backer (Goyte, pronounced “Go-tee-ay,” is derived from the French “Gauthier,” the French equivalent of “Walter” or “Wouter”). Goyte’s song “Somebody That I Used to Know,” featuring Kimbra, has not only been awarded “Single of the Year” (ARIA Awards 2011) but has been danced, seriously and in parody, by many others.

I first became aware of Goyte’s song from Walk off the Earth’s cover of “Somebody That I Used to Know.” Their dance, revolving around all five of them playing the same instrument at the same time while singing the song, has received almost 140 million hits and won them an appearance (performance) on “Ellen.”

(The female singer of Walk off the Earth said it took them 26 takes to get this dance right for the Tube’s video, since any time any one of them made a faux pas, they had to start over from the beginning: they performed it live on “Ellen” flawlessly.)

Then came The Waffle Stompers’  dance of Walk off the Earth’s cover dance of Goyte’s original dance, this time involving a ukelele and a guy doing the girl’s part. Yes, a dance of a dance of a dance. Convoluted, amusing, or fascinating? You decide.

Other amateur dancers quickly arose, filling the Tube with their dances of “Somebody That I used to Know.” Some are mildly entertaining, some rather dull, some simply uninspired, some quite clever. Matthias Harris does it a capella. Even old-fashioned computers joined this dance (I first saw this version on Guy Bergstrom’s Red Pen of Doom). Incredible talent went into this version of the dance but, while it left me intellectually impressed, it didn’t move me emotionally.

Red Pen of Doom also introduced me to the Star Wars parody of the song, which is a bit different because the dancer does the same steps as Goyte in his original video, and merely changes the words which accompany the dance. Though entertaining if you’re a Star Wars or George Lucas fan, and can get all the allusions, I found the dance itself is uninspiring.

But between the time I first posted this blog (2012) and when I updated it (2017), a Minions version of Goyte’s song had appeared.

Of course, one parody leads to another, as one cover does to another, as each dancer tries to out-dance the original dancer, Goyte. So, we not only compare each dancer who does the same dance in order to “know the dancer from the dance”, but many of us try the dance ourselves.

I know which version of Goyte’s dance I prefer, and which dancer I believe dances “Somebody that I used to Know” best. But SadieDoggie and our Gang of Seven Rescue Cats wouldn’t let me finish this blog until I included their favorite version of the dance: (Dogtye, featuring Katra).

What say you, my Lovelies? Any dances that you prefer be performed by a particular dancer? Let me know in comments.

updated Aug 2017

 

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