;-)
Posted on 10/01/2021 1:55:40 PM PDT by sphinx
It’s a nauseatingly evocative moment, both because of the way director Potsy Ponciroli’s camera isolates the actor, and because Tim Blake Nelson conveys, through his defeated posture and anxious movements, the stone that is slowly forming in his stomach. Earlier, when he first came upon the money and the man, Henry had quietly ridden away from them, unwilling to get involved, only to change his mind. Now, again without a word of dialogue, he tells us that he knows that the valley below and the hills beyond will soon fill up with the shadows of other men looking for the cash.
(Excerpt) Read more at vulture.com ...
I am talking about the one staring Russel Crowe. I’m not the only serval reviews call it as well.
Not a Western, but if you like Tim Blake Nelson’s work, check out Rickover: The Birth of Nuclear Power on amazon Prime...About the work of Adm Hyman Rickover to bring the first US nuclear sub Nautilus online...
Sounds like a Western "Nobody". I'll watch it.
Was it because Ben Foster played Charlie Prince swishy?
Trinity’s Still My Name
3:10 To Yuma. Great movie!
Best line ever: Even bad guys love their Mommas.
I was so impressed by that line I looked up who wrote the story. It was Elmore Leonard, although he didn’t write that line. It only appears in the remake.
3:10 To Yuma was the first story by Elmore Leonard I ever read. I ended up reading pretty much everything he wrote. After that it was hard to read anybody else. Nobody brings you into the flow of a story like Elmore Leonard.
Partly
Prince’s character was decidedly strange, but there was never a hint that Ben Wade reciprocated his feelings. Personally, I wouldn’t have written Prince as queer, but then I’m not a Hollywood screenwriter.
Crowe sure created a scary Bad Guy. Damn fine actor.
The Dark Valley, a western from Austria. Well worth the time to watch. Free if you have Prime, you won’t be disappointed.
The smirk Neeson gives at the end is creepy. The wagon train story was one of the saddest I’ve ever seen.
MFLR.
Those two were superb!
Silverado always makes my top 5 list. The Man Who Shot Liberty Valance gets #1 or 2 depending on my mood. Just about every actor in that deserved a Oscar. Shane and High Noon get in. Then one of many Eastwood spaghetti western. Honable mention to Terrence Hill and the “beans weren’t much good anyway” scene.
Justified is the most “Elmore Leonard” production ever made. Get Shorty and Out of Sight are pretty good, too. But yeah, Justified is a masterpiece. Even the pilot is excellent.
True Grit is a great movie. The 2010 Coen brothers version is also terrific, one of the very, very few remakes that were worth doing. The "fill your hand" line makes it into the remake as well. I don't know if it comes from the book.
There was an interesting discussion when the 2010 version came out about the way it captured 19th century spoken English. Capturing period dialect is a high art. Hollywood has tackled it in various ways, with the Cecil B. DeMille mock Biblical narrations, vaguely Shakespearian formulations, Conan-speak, and highly affected aristocratic twaddle being noteworthy cinematic inventions that have acquired a faux "authenticity" among audiences that don't have any real standard of comparison.
The 19th century is near enough that linguists do have some solid ideas about how spoken English actually sounded in various places, and a lot of the scholars thought the Coen brothers got it right (or at least better than most). Jeff Bridges made a wonderful Rooster Cogburn, distinctive enough to make you forget about John Wayne for the duration of the film. Hailee Steinfeld as Mattie Ross was also great. She was 14 when the movie was filmed, and she got a well-earned Oscar nomination for her portrayal. She's all growed up now and still making movies (and singing ... and she would probably be wise to make a choice between the two), but True Grit will probably be the film they chisel into her tombstone someday.
In recent years, I have been helpfully suggesting good political and especially Cold War films to high school teachers. On a couple of occasions, the conversation has broadened. I like to toss in the Jeff Bridges/Hailee Steinfeld True Grit as a curveball suggestion for a good coming of age film. It is indeed the coming of age story of Mattie Ross, a 14 year old character played by a 14 year old actress, and it's a subversive suggestion because it is an entirely non-sexualized film and therefore suitable for middle and high school students (without irritating parents). I'd love to see how a class full of modern 8th or 9th grade girls would react to Mattie Ross, who would be their contemporary. Usually "coming of age" becomes code for boys discovering girls and vice versa, but that is artificially limiting the genre. Two of my other recent favorites, Columbus and Leave No Trace are also completely non-sexual coming of age stories. I'm sure there must be many others if we started to think about survival and war movies, many of which feature teenagers forced to grow up much too fast. But again, yes to True Grit, both versions.
Reminds me of a trailer I saw the other day for an upcoming Star Wars movie where the characters were all speaking with a British-y accent that could be called Space English.
I don't think any actress who came up through the Hollywood royalty track could have played that role. JLaw was an unknown and a Kentucky girl. She absolutely owned a very challenging hardscrabble, white trash, hillbilly character. She was the right person at exactly the right age. If you wonder how she became a "thing," that's the film to watch.
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