The Searcher in the Movie Book

Janice 2022-04-22 07:01:26

How to say it, compared to spaghetti westerns. Although the male protagonist's anti-hero character (not only a stern lone hero, but also a cruel revenge who will be influenced by hatred, and also has a sense of parental responsibility) is very layered, although there is a very beautiful landscape shot, But the narrative rhythm is still too fast and perverse, failing to internalize the vastness and 'poetry' of the West into a stylized expression like Leonard did. The style of the performances and scenes (the imitation of the location set is too fake!) is still a very traditional 50s level. Except for the shot intertext at the end, it doesn't feel like a classic that transcends time. I really don't like the old-fashioned male star style like John Wayne, patriarchal / frivolous / greasy (evil); the second male is too much like Jesse Affleck; the long-awaited Natalie Wood turned out to have only three shots

Briana 2021-12-08 08:01:40

(70/10) Westerns in the 1950s have begun to have some elements of genre reflection, but the genre elements established by John Ford in traditional Westerns still exist. The racial confrontation from the white perspective is still about justice and evil. The little white girl abducted by the Indians is used as a clue to the whole plot, interspersed with love lines, plus occasional gags, wonderful horse-riding shootouts, and the symbolic first and last door frames. The composition is very visible. However, John Ford still has not escaped from the traditional national view. The conflict between the conqueror and the conquered is still unadjustable. Deep-level cultural factors and racial barriers still remain at the surface of prejudice and superficiality. The little girl’s "Assimilation" and "transformation" are almost taken in a few shots, a passive, self-conscious existence, like an "object", grabbed around, and finally returned to the original owner, nothing changed.