Film7070 Week 6: 1961 & 1990 March 13, 2011Posted by Ian W in : DVD Viewing Journal , add a comment
1961: Tierra Brutal aka The Savage Guns
I had high hopes for Tierra Brutal. It’s a film that’s not easy to find, but, being a fan of Richard Basehart since watching him as Admiral Nelson in Voyage to the Bottom of the Sea as a boy, the prospect of seeing him take the lead in what I’d heard described as a proto-spaghetti western (it was filmed in Spain) was hard to resist. So perhaps my expectation were a little high when I finally tracked it down. I was hoping to unearth a hidden gem, what I got was a fairly standard B western that has little of the style of the spaghetti westerns that were to come a few short years later.
Perhaps this lack of continental flavour shouldn’t have come as a surprise, the film was directed by an Englishman, Michael Carreras, a name that’s more familiar to horror fans than western aficionados. Michael was a producer and director with Hammer Films and the son of the studios founder Sir James Carreras. Not the sort of background you’d expect for a western movie director but he does a competent, if decidedly unspectacular, job.
Basehart does well as the gunfighter who’s looking for a place to hang up his guns (yes that old chestnut) but finds it’s never that easy to escape your past. The rest of the cast is made up of minor American actors, attractive Spanish ladies and a presumably hard up Fernando Rey. All of which leads to a frankly rather dull 90 minutes.
1990: The Reflecting Skin
Philip Ridley is a director who divides audiences, is he pretentious and deliberately obscure or a visionary filmmaker who gives us a quirky, and often bleak, view of the world? After watching The Passion of Darkly Noon I was leaning more towards visionary than pretentious and The Reflecting Skin has pushed me further that way.
Told from a child’s perspective but with little of the happy nostalgia such films usually foster, this is a bleak look at depression era rural America. The film lacks any characters you can really identify with, everyone is a little weird, not least our central character, ten year old Seth Dove, and they’re not very sympathetic either. The film has a very dark tone and yet it’s also strangely beautiful, there’s some gorgeous cinematography.
It isn’t without it’s weak points - Jeremy Cooper, making his screen debut as Seth, isn’t a strong enough actor to carry the film and the pace at times is too slow, although whenever you feel your attention starting to wander the film throws another level of weirdness at you that pulls you back in.
I don’t want to give too much away, I knew very little about the film going in and I think that worked in its favour. It’s a hypnotic, at times deeply disturbing drama with some strong supporting performances, Duncan Fraser as Seth’s Father being worthy of special mention, as is Sheila Moore as his tyrannical and mentally unstable Mum. It’s not a film that’s quickly forgotten, there is at least one truly horrifying moment and enough disturbing images for a few nightmares but there’s also the question of what Ridley was trying to say with his portrait of this truly dysfunctional family. Ridley’s view of childhood certainly isn’t the rose coloured golden years that the movies often promote it as. The superficial beauty of the setting contrasting with the dark secrets that all the characters have.
Film7070 Week 5: 1957 March 5, 2011Posted by Ian W in : DVD Viewing Journal , 3 comments
1957: The Tall T
I’ve often heard the classic westerns produced by Director Budd Boetticher and star Randolph Scott spoken of with a reverence reserved for the likes of the Mann/Stewart and Ford/Wayne partnerships but until watching The Tall T my only experience of the pairs output was the superior revenge western 7 Men from Now. It’s fair to say that after watching The Tall T I’m now a fan and you’ll probably see a couple more of their films popping up in Film7070 in the coming weeks.
Several things set the The Tall T apart from the crowd of low budget westerns of the period, for starters there’s the script from Burt Kennedy. The first twenty minutes or so are spent establishing Scott’s character Pat Brennan, and it’s twenty minutes full of information - he’s a rancher, he works alone, he quit his previous job as a foreman on a larger spread to try his luck on his own, he’s unmarried and he’s not adverse to a gamble, the latter fact leaving him afoot when he wagers his horse against a prize bull. The result of all this is that we feel like we know Brennan in a short space of time, and we like him, he’s a happy-go-lucky kind of guy who takes the rough with the smooth and doesn’t bear a grudge, although he’s not one to be laughed at. The beauty of Kennedy’s script is that we get all this information from a few exchanges that never feel anything but natural, there’s no sense of forced exposition. This deftness of touch is apparent throughout the film as we are introduced to other characters.
The film also features two fine performances, firstly from Scott and also from Richard Boone as the films main villain Frank Usher. Scott’s an actor I’ve grown to appreciate more as I’ve got older, growing up I always found him wooden and unconvincing. It took Sam Peckinpah’s Ride the High Country to convince me there was more to Scott than I’d originally thought and I think he’s certainly an actor who improved with age. Here he’s given a wonderfully rounded character to play, and he exudes rough charm and ready wit as Brennan.
It’s rare for a western villain to be as fleshed out a Boone’s Usher. He’s far more than the usual ‘black hat’ for the hero to face. He’s charming, funny and, were it not for some of the acts he’s instigated, he’d be a likeable guy. There’s a sense that, under different circumstances, he could have been living Brennan’s life, the two characters being similar in many respects. I may not have cared for Scott as I was growing up but Boone is an actor I’ve always admired. I’m too young to remember his most famous roll as Paladin in Have Gun Will Travel but I remember watching Hec Ramsey, which started in the early seventies when I was about seven or eight. The Tall T came out the same year Have Gun Will Travel debuted on TV and it’s easy to see how he made the leap from supporting actor to TV star.
Boetticher weaves these elements together to create a tense little film that’s low on gun play but high on character, but when the lead does start flying he handles the action with as much aplomb as the psychological thrills that have gone before. He even manages to make you wonder if things will follow their usual path for a low budget oater i.e. the villains lying dead in the dirt while the hero rides off with the girl, although in this case the girl, Maureen O’Sullivan, most famous (to me at least) as Jane to Johnny Weissmuller’s Tarzan, hadn’t been a ‘girl’ for some time. It’s one more thing that sets Boetticher’s film apart, it’s not just the maturity with which the film is handled, it’s the maturity of the characters themselves.
I think I’ll stop now as this is coming dangerously close to a full review, something that was never the plan for Film7070 posts, but I will leave you with this - if you are a fan of the western genre then you owe it to yourself to seek out The Tall T. Trust me you won’t regret it.