Members ADLIZ Posted March 4, 2006 Members Report Share Posted March 4, 2006 Os meus preferidos são: - O Dólar Furado - Sete Homens e um Destino - Jovem Demais Para Morrer - Silverado - Dança Com Lobos Quote Link to comment Share on other sites More sharing options...
Members Thiago Araujo Posted March 5, 2006 Members Report Share Posted March 5, 2006 Os meus preferidos são: - O Dólar Furado - Sete Homens e um Destino - Jovem Demais Para Morrer - Silverado - Dança Com Lobos Meus preferidos também, alguém lembra de "Um homem chamado cavalo"??? Quote Link to comment Share on other sites More sharing options...
Members -felipe- Posted May 14, 2006 Author Members Report Share Posted May 14, 2006 Um artigo que achei no imdb hoje: A bullet in the back Nothing - not even Brokeback Mountain - can bring the western back to life. Alex Cox explains how cowboy movies were killed by the film-makers who loved them the most Friday May 5, 2006 The Guardian Cynical vision ... Leone's Once Upon a Time in the West. Photograph: Kobal Somepeople insist the western isn't dead. It's true one seems to come out every couple of years, but they tend to be anything but classic westerns: mad, special-effects sprees such as Wild Wild West, or stories of gay love, or displays of actorly narcissism. And, with the exception of Brokeback Mountain, they are usually unsuccessful. I recently came across a couple of photographs that made me think about this genre, which has, to all intents and purposes, died, and about what killed it. One of the photos was taken on the set of Pat Garrett and Billy the Kid, in Mexico, in 1972. It shows several of the cast and crew, including James Coburn and Harry Dean Stanton, carrying the director, Sam Peckinpah, on a hospital stretcher. One crew member is walking beside the prostrate Peckinpah, holding up a bottle of Johnnie Walker Black Label. A drip feed runs from the bottle to Peckinpah's mouth. The other photo was taken in Italy in 1978. It shows Peckinpah (this time dressed in a cowboy outfit), the Italian cinematographer Giuseppe Rotunno, the big, bearded, bespectacled director Sergio Leone, and the American director, Monte Hellman. They were on the set of China 9, Liberty 37, a hybrid American-Italian western directed by Hellman. What the first picture says is fairly obvious. Peckinpah, a notorious drinker and fighter, had sworn off booze in order to direct his greatest film, The Wild Bunch. Now he was back on the stuff. Still supported and indulged by those who worked for him, he was having his photo taken to send to his hated enemies: the suits, back at the studio. The second picture says something more obscure. It's interesting for a film buff because it depicts a meeting of three important directors. It's fun to speculate on the conversation Peckinpah, Leone and Hellman - the three great directors of anti-westerns - might have had (via an interpreter). But did they speak? Did they get along? In the photo, Peckinpah and Leone don't look at each other. Leone is gazing out, past the camera, his glasses reflecting movie lights. Peckinpah is looking at Hellman, his director. The significance of the second photograph, I think, is what Leone and Peckinpah are doing. Neither is directing. Leone is a visitor to the set. He has time on his hands. Peckinpah is an actor, in a battered coat and hat, playing a supporting cowpoke in a work-for-hire directed by a friend. By 1978, neither had a western of his own to make. Each would direct one more feature, but the men who had killed off the western had pretty much written themselves out of a job. A decade earlier, Peckinpah and Leone directed films that have since been canonised as classics. Not just classic westerns, but classic films: The Wild Bunch and Once Upon a Time in the West. Leone's grand vision - he never directed a film that didn't cost more than the one before it - was matched with a deep cynicism regarding the cowboy genre. By the 1950s the western was already in trouble: challenged by cheaper, studio-filmed westerns on TV, it had been forced to reinvent itself several times. Westerns were made in widescreen and in Cinemascope formats; new genres appeared, such as the kind-to-Indians western (Apache, Broken Arrow) and the psychological western with its noir-ish, troubled protagonist (Winchester 73, Yellow Sky). There were also westerns as political allegory (High Noon is now seen as a critique of the response to McCarthyism), and art-westerns (Johnny Guitar). But none of these films matched the raw energy and original darkness of Kiss Me Deadly or The Big Knife. Unlike the noirs, these westerns seem dated, and difficult to watch today. Leone had grown up on American westerns, but the US troops who occupied Italy during his teenage years had little in common with the chivalrous cowboys of the films. In the early 1960s, when the Americans began to outsource film production, one producer, Samuel Bronson, started making cheap westerns in Spain. Leone, by then a young assistant director, saw his chance. But his cowboy picture would have little in common with the films of John Ford or Burt Kennedy: instead, Leone remade Kurosawa's Yojimbo - the story of a drunken, masterless samurai who takes on two families of gangsters. The resulting film, A Fistful of Dollars, was hugely successful. Predictably, Kurosawa's company sued Leone for a share of the profits. Perhaps equally predictably, Leone developed and expanded on this new vision of the west in subsequent films. It was a vision permeated with corruption: towns were run by villainous gangsters, and the desert was inhabited by murderous assassins, lying in ambush. It was a refreshing and exciting vision, whose protagonist - a bounty killer, played by Clint Eastwood, who executed his wounded victims - was light years from John Wayne. Leone wasn't the only Italian who wanted to make westerns. Sergio Corbucci, Sergio Sollima, Giulio Questi and many other inventive directors came up with violent and perverse visions of the Wild West as hell. As a result of the Italians' challenge, American directors were briefly given licence to compete. Monte Hellman made a pair of existentialist westerns - Ride the Whirlwind and The Shooting - that today seem arch and arty, but were thought of then as films of great significance. In 1968, Sam Peckinpah - a troublesome and radical director who had fought with the studios on another western, Major Dundee - embarked on his masterwork, The Wild Bunch. This was western as critique of the Vietnam war. Its protagonists dressed in US army uniforms and provoked massacres of civilians. Invading Mexico, trying to do the right thing, they racked up still greater inventories of innocent dead. The Hollywood old guard responded to the challenge with pro-war films such as Wayne's The Green Berets, and with the reactionary Chisum, in which Wayne played a benign, honest rancher, sympathetic to Billy the Kid. Wayne had shot to fame in 1939 playing an outlaw in Stagecoach. By 1970 he was playing ranchers, sheriffs and cops. It was an interesting transition, mirrored by a change in American society, as television abandoned loner heroes such as The Rifleman and started depicting ranchers - property-owning landlords such as Ben Cartwright in Bonanza - as the good guys, rather than their humble ranch hands. In 2003, President Vicente Fox of Mexico could say of President Bush: "We are going to understand each other well. We speak as rancher to rancher." Ian Vasquez, director of the project for Global Economic Liberty at the rightwing Cato Institute in Washington, approved of the metaphor, but added an important distinction: "It plays into their images, which are, interestingly enough, the rancher and the cowboy ... it's a great public relations move. Mexicans love cowboys and the US public can identify with ranchers." Peckinpah, on the other hand, didn't like ranchers at all: in Pat Garrett and Billy the Kid he depicted Chisum as a manipulative rich bastard. He would have done more than send telegrams to George Bush. But he was fighting a losing battle against corporate media and the sands of time. "Ranchers were the oligarchical interest in westerns," said the writer of Pat Garrett, Rudy Wurlitzer. "Trying to control the territory, from Shane to Heaven's Gate. They were gritty motherfuckers. The Santa Fe Ring was a collection of ranchers who wanted to control the territory at the expense of the New Mexico homesteaders. They were a capitalist cabal: totally rightwing and reactionary." Wurlitzer wrote Pat Garrett for Monte Hellman to direct. But after Two Lane Blacktop, Hellman had lost favour at the studio, and the script went to Peckinpah instead. As directors, and people, Hellman and Peckinpah were very different, but they shared a distrust of the studios, of corporate power. They admired outlaws. Peckinpah, Leone and Hellman forced the western to evolve. But they also pushed it in the direction where studios, in the pockets of oil companies and big media conglomerates, didn't want it to go: towards individualism and anarchy. The western approached meltdown as a result. IIn 1969, Paul Morrissey and Andy Warhol made Lonesome Cowboys, the first "mainstream" gay western. In 1971, Dennis Hopper directed The Last Movie, a fractured film about a Hollywood stuntman left behind in a western set, in Chupadero, Peru. And in 1974, Marco Ferreri directed Don't Touch the White Woman!, a spaghetti western starring Marcello Mastroianni and Catherine Deneuve, which set Custer's Last Stand in the outskirts of modern Paris. Pictures of President Nixon appear throughout. It was a crisis point. The genre, which had once been a celebration of traditional American values of self-reliance and individuality, had forked. Its reactionary tendency - the films of Burt Kennedy and Wayne - had hit a brick wall. Its revolutionary tendency was postmodern, respecting neither genre nor linear narrative: the cowboy version of punk. Hollywood was wasting money on the former, and afraid of the latter. It didn't want any more individualism; it needed reactionary stories, with heroes who worked willingly for the rancher, for the military, for the man. The hero was no longer the outlaw. He was the corporate secret agent played by Harrison Ford, the patriotic airman played by Tom Cruise. He was the vengeful cop played by Bruce Willis, or the vengeful fireman, or war hero, or robot, played by an Austrian weightlifter. Oddly, John Wayne's career mirrored this evolution. In many of the two-reelers he made prior to Stagecoach, he played some sort of secret agent or FBI man, sent from Washington disguised as a cowpoke to break up the rustlers/robbers/union organisers. John Ford rehabilitated him when he cast him as the Ringo Kid in Stagecoach. He made Wayne, for a little while, something akin to an archetype of manly beauty and of individualism. It was perhaps America's best vision of itself. And, like many an ideal, it proved apt for corruption, cheap commercialism and betrayal. Quote Link to comment Share on other sites More sharing options...
Members um ninguém Posted May 14, 2006 Members Report Share Posted May 14, 2006 Meu preferido é Os Imperdoaveis. Mas.. alguém ae viu a série da HBO chamada Deadwood? Talvez seja a melhor coisa de Western desde Imperdoaveis. Melhor q Wyat Earp' date=' por exemplo. Mas é meio dificil comprar, por ser uma série de 14 capitulos. Mas enfim![/quote'] Uh cara, li um troço numa revista elogiando muito essa série aí, dizendo tbm q é bem violento e forte... por gostar muito do gênero tenho curiosidade... Quote Link to comment Share on other sites More sharing options...
Members rick blaine Posted May 14, 2006 Members Report Share Posted May 14, 2006 Dei uma lida no tópico e vi que ninguém citou "Pequeno grande homem" do Arthur Penn. Um filme que procura desmitificar o Velho Oeste e que, por retratar os índios de forma positiva, pode ser definido como uma espécie de precursor de "Dança com lobos". Também destaco os westerns psicológicos resultantes da parceria entre o diretor Anthony Mann e o grande James Stewart. "O preço de um homem", "Winchester 73" e "E o sangue semeou a terra" são filmes que tiveram o mérito de criar uma nova persona cinematográfica para o ator, substituindo a antiga fama de bom moço por uma imagem mais sombria e angustiada. Quote Link to comment Share on other sites More sharing options...
Members Katsushiro Posted May 14, 2006 Members Report Share Posted May 14, 2006 Rastros de Ódio, Rio Bravo, Homem que Matou o Facínora, hmm. fico indeciso. Quote Link to comment Share on other sites More sharing options...
Members FeCamargo Posted May 14, 2006 Members Report Share Posted May 14, 2006 Era Uma Vez No Oeste, do Leone! Simplismente! Quote Link to comment Share on other sites More sharing options...
Members murilosimao Posted May 15, 2006 Members Report Share Posted May 15, 2006 Era Uma Vez o Oeste. Um dos 100 melhores filmes da história para mim. Quote Link to comment Share on other sites More sharing options...
Members jrostirolla Posted May 19, 2006 Members Report Share Posted May 19, 2006 Todos do Sérgio Leone... Em especial: - Era uma vez no oeste - Três homens em conflito - Por uns dólares a mais (lee van cleef!!!) Quote Link to comment Share on other sites More sharing options...
Members saulomeri Posted May 21, 2006 Members Report Share Posted May 21, 2006 Acabei de ver Era Uma Vez no Oeste. Ainda estou pasmo!!!!!!!! EXCELENTE, MAGNÍFICO!!!!!!!!!!!!!!!!! Quote Link to comment Share on other sites More sharing options...
Members Abraxas Posted May 25, 2006 Members Report Share Posted May 25, 2006 "Era uma vez no oeste" O melhor de todos os tempos.Trilha sonora do Morricone perfeita também.O duelo final imperdível!.As tomadas quando Leone foca apenas no rosto das personagens demonstrando todas as suas expressões. Todos do Leone são fantásticos.Outros bons: Quando explode a vingança Por uns dolares a mais O bom,o mau e o feio. Curiosodade:Leone sempre aguardava Morricone encerrar a composição da trilha sonora do filme para iniciar as filmagens.Ele montava as cenas,casando com a trilha magnífica de Morricone. Quote Link to comment Share on other sites More sharing options...
Members Thiago Araujo Posted May 25, 2006 Members Report Share Posted May 25, 2006 Alguém me sabe dizer aonde posso adquirir os DVDs "Era uma vez no oeste" e "Era uma vez na América"????? Leone e Morricone são "os caras" dos "bang-bang italiano" Quote Link to comment Share on other sites More sharing options...
Members Travis Bickle Posted May 28, 2006 Members Report Share Posted May 28, 2006 De todos que eu vi, com certeza o melhor é "Era Uma Vez no Oeste" do Sergio Leone, filme impressionante, a trilha sonora é mais do que perfeita e encaixa perfeitamente nas imagens, que também sao perfeitas...Além de ser o melhor filme do genero Western certamente consta dos melhores filmes já feitos. Quote Link to comment Share on other sites More sharing options...
Members sversut Posted June 1, 2006 Members Report Share Posted June 1, 2006 Ok Beleza Já anotei aqui os principais aí citados. Na verade tb não é minha praia Faroeste, mas se for bao tá beleza. De bao só conheço os Imperdoáveis. Não gostei de Silverado. Falowww Quote Link to comment Share on other sites More sharing options...
Members Administrator Posted September 20, 2006 Members Report Share Posted September 20, 2006 Chiquinho2007-05-04 23:47:47 Quote Link to comment Share on other sites More sharing options...
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