An actor who has become symbolic of Westerns directs a Western that is anti-Western. Dongmu removed the romance of the westerns, tried his best to get rid of the fast-paced, happy and grudges of the past, and used a more life-like rhythm, which brought a rebellion and disenchantment to the westerns. Heroes of the West were reflexive to violence and feared and feared for the continual violence. The heroes of the past who prepared to kill for a living couldn't even mount a horse, and kept falling from their horses. The gun used to kill was more like a hot potato, but was forced to pick it up. The cops relentlessly debunk the mythical cowboy tale, disenchanting Western myth and heroic narratives. The ambitious little cowboy actually has problems with his eyesight, he can't aim his gun at all, and the cowboy who can't shoot correctly faces the self-esteem of western males, just like the bad cowboy in the film's opening film because he is ridiculed for his small dick and cuts off female breasts and destroys prostitutes. face, project the fear of self-castration onto women, and then "castrate" women. Women are no longer the vase women who need to be rescued in the John Ford movie, where women are not foils, they have emotions and thoughts, and their revenge becomes the origin of the narrative. Twilight heroes, timid cowboys, vicious cops, and brave women all come together to destroy the male narrative of Hollywood Westerns.
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