The masterpieces of western genre films show the magnificent scenery of the west, and they also begin to involve the sorrow brought by the change of times. Cameras mostly use front and back shots or close-up shots, and the lens changes little. The narrative rhythm is also more relaxed. Different from the description of gun battle scenes in general western films, this film focuses more on portraying the warm feelings of family and ranch. It is precisely because of this part of the characterization that the final brief gun battle viewing effect does not lose to the large-scale battle. (Suddenly remembered the narrative mode of "Noon") This film uses some metaphorical shots to imply the plot and theme. For example, in the end, Marian persuaded Starlight not to use violence, and asked Sean for help. All three of them are included in the camera, but Sean is hidden behind the door, only his voice shows his existence. The private thought implies that Sean made a decision in his heart to discourage Starlight from using violence. It also shows that as a cowboy, after all, it is difficult for Sean to integrate into the tragedy of the self-employed farmer, and it also hints at his departure at the end. In the film, Sean fought with Starlight in order to discourage Starlight. Because both are positive characters, he often uses beasts and horses to alert them to show that the two are fighting fiercely and skillfully. But I feel that the fight in this field is not only ugly, but also seems to be inconsistent with the rhythm of the whole film, which is quite tasteless. It's better to let Sean knock him out from behind, and it doesn't affect the narrative. The child can still say hate you and come back to apologize. And as a bystander to witness the final battle, and then call out. Later I thought about it and thought that this fight may be a manifestation of Starlight’s character, showing that his shot was against Marianne (by the way, this name seems to be the common name of the beautiful woman in the country, "Red Dead Redemption" "The same is true in ", it may be the working people’s good wishes for a happy pasture life~(￣▽￣~)~) The expression of sadness, jealousy, and anger that may be taken away is more in line with human nature. But no matter what, I still think this scene is a bit disruptive.
In the final duel, the film sets up children as bystanders to increase the legendary character. The child's final call to Sean is a call to heroic idealism. Compared with Sean's choice to leave and Marian's attitude towards Sean's departure, it is more sensible.
This film has some close-ups on guns, such as Sean's first trip to town without a gun, or Sean explaining to Marianne that a gun is a tool, and good and evil are determined by the user. Another example is the fight between Sean and Starlight. The two are evenly matched. In the end, Sean uses a pistol to knock Starlight out, and the child expresses disgust with Sean's actions, and so on. It is a preliminary thinking about violence, and it is the first part of Eastwood's "Unforgivable" that completely deconstructs violence.
The genre of western films is really good-looking. I wonder if there will be a similar genre in our country with a more modern background than knight films.
Imagine it, let’s come to a story of a nail house resisting the trend of the times (ง •̀_•́)ง
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