western noir criterion
About this list: Criterion Channel did a little run of movies at the intersection of my two favorite genres, so of course I had to watch them all. Brando, with his confounding mix of raw virility and voluptuous beauty, makes a distinctly modern western hero. Western Noir. In particular, both forms purvey intensely stylized, ritualistic versions of masculinity. Not until the 1970s, … A new breed of westerns emerged after World War II, stained by film noir’s anxious, disenchanted mood and enriched by its psychological and moral complexity. Rancho Notorious and Station West were the two biggest … Women, long marginalized in westerns, wielded newfound power, but not without getting their hands dirty; the femmes fatales of western noir include Barbara Stanwyck (THE VIOLENT MEN), Ida Lupino (LUST FOR GOLD), and Marlene Dietrich (RANCHO NOTORIOUS). The first and purest “noir western” may be Raoul Walsh’s Pursued (1947), which opens in a charred, decaying ruin where a man takes refuge from a lynch mob. Ask Ethan Edwards in In a film of impeccable performances, Pellicer stands out for the inner strength she brings to her frail, innocent character: the dignity with which she tells Rio, “You only shamed yourself” is quietly devastating. The search for a legendary fortune unleashes tragedy in this dark, gripping saga of gold and greed. Romantic myths of the frontier gave way to tougher tales of ruthless outlaws, corrupt cattle barons, gold-crazed prospectors, mercenary gunfighters, and lonely, damaged men obsessively pursuing vengeance for past wrongs. With its unbridled frontier violence, themes of civilization versus savagery, and iconographic cowboy figure, the western is the most beloved and recognizable of American cinematic genres.
Survival in the cinematic West depends on performance, and westerns’ intense scrutiny of men’s bodies and clothes, gestures and mannerisms, subjects males to a gaze at once desiring and judgmental. “A man can’t stay angry for five years, can he?” Rio asks with a wickedly disingenuous grin. The Criterion Collection Essential noir actors found a home on the range: Robert Mitchum brings his cool, world-weary pessimism to BLOOD ON THE MOON and MAN WITH THE GUN, while Robert Ryan’s tortured tension anchors the gripping DAY OF THE OUTLAW. When his wife (Jan Sterling), exasperated...Barbara Stanwyck is a frontier femme fatale in this simmering psychosexual western, in which she plays the scheming, faithless wife of a greedy landowner (Edward G. Robinson) who uses his in...In one of his last and finest performances, Gary Cooper plays the reformed outlaw Link Jones, who is unwittingly drawn back into his criminal past when his train is held up by his former gang. At once brooding and flamboyant, he’s able to carry off the most traditional western theatrics, and at the same time give glimpses into an inner landscape more vast and varied, and harder to map, than the one through which he rides.The heartbreaking lament “Fare Thee Well” builds in resonance as it drifts through multiple scenes in the Coen brothers’ folk-fueled drama.The Canadian auteur’s fanatically elaborate puzzle-box narratives invite the audience to discover their hidden meanings and bear the psychological burdens of their characters.Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. A new breed of westerns emerged after World War II, stained by film noir’s anxious, disenchanted mood and enriched by its psychological and moral complexity. In this barren landscape, where bones sprout from the earth and nooses dangle from dead trees, the man (Robert Mitchum) retraces his past, going back to a primal childhood memory of witnessing his … One of...In the forsaken town of Bitters, Wyoming, tensions between homesteaders and cattlemen are high. The series should be at least twice as big to capture the reverberations over the 10+ years when noir dread infiltrated the Old West. Western icon Randolph Scott is one of eig...Directed by S. Sylvan Simon • 1949 • United States Dad may hate his old partner just because Rio threatens his position (“You’re a one-eyed jack around here, but I’ve seen the other side of your face”) or because he can only lighten his guilt by hating the man he wronged, first publicly flogging him and smashing his gun hand, then planning to hang him for a bank robbery he didn’t commit. It is hard to judge someone’s style from a single movie, and the direction of Stylization is a great part of westerns’ appeal—something they have in common with film noir.
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western noir criterion
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