What is so great in Western? Well, for starters, the approach of the genre to morality may seem clear at first glance, but the best westerns in morally gray landscapes and constantly revisited the honor. Violence is often at the heart of these stories because without this component we will draw a sanitation and invalid picture of society on change. This violence can manifest in different forms and reflect the bitter truths about human history, or it can simply emphasize universal human injuries from a certain point of view. Moreover, lawless spaces require lawless men who are in tune with the West and its ethos, and sometimes these people are experiencing transformation. The rich history of the westerns goes beyond the rolling image, and writers such as Makartky’s feed and Annie Prulx, removing the definitions of how Western can reveal the worst impulses in humanity.
The decision that Western deserves to be dubbed « the best » is useless, because the genre has a wide range of stories. For example, Clint of Eastwood, in the main role of « unexpressed » vigor with complex morality Continuing the reformed shooting back into the world’s head hunting, while Sergio Leon « Once in the West » explores the concept of bitter revenge. Meanwhile, titles, such as the « Red River » of Howard Hox, emphasize the collision between tradition and the present through stippled conflicts, and all, challenging the idea of what the hero makes. Over the years the greater western genre has experienced significant changeswith physical violence, which is often at the center that overlap during the examination of cultural and racial oppression.
If we look at a site like Rotten Tomatoes, then the western ones of the highest ratings of all time are the titles as « Stagecoach » and « My Derling Clementine ». Upon MetakriticTwo westerns with the highest rating are somewhat more amazing: « Wild pile » and « Sierra-Madre’s treasure » exceeds 98 percent in each. So, let’s talk about these films!
This main metacritic Western rating explores the spectrum of human experience
Sam Beijing’s « wild pile » experience And half. A common nihilism connects every event in the film, but it is not a world completely devoid of hope. The Texas Pike Bishop (William Holden) wants to retire after the final robbery, as by law, only to ambush in the bloody shootout leaving most of his people dead. Pike and several survivors then head to Mexico in search of something better, but they met with a vicious threat as soon as they arrive. If you punch intense confrontations, shootings and double intersections that occur after that moment, the « wild pile » may seem special in terms of the story. But the magic lies in the handling of these classic tropes of Beijing, which is transmitted through the editing editing and the multi -country framing (which were not the main when the film was released in 1969). This creative ingenuity makes even the most overloaded ideas to seem fresh, such as the dramatic declarations of the rational loyalty and how the absence causes the animal from man.
However, the epic revisionist revision of Beijing is far from perfect. Mark Mahism, which is noted here, is quite outdated, while consistently consistently reflecting violence, enhance this traditional worldview. The cruelty, loyalty and morally ambiguous heroism cover the central group with the laws of the film, which make their personal philosophy known with unwavering unity and hail of bullets. There is also a deliberate, extended attention to a visceral image, such as a scorpion that devour the ants, while the group of children looks with the sadistic side. Does Beijing condemn our desensitized apathy for violence? Or he prescribes the fact that we are doomed as This is? Although this is for discussions, the « wild pile » offers sharp sensations, shocks and rage, taking you into the roller coaster emotions that are obliged to attract you.
A non-Western movie with high Metacritic’s high rating is learning as greed-shaped men
Next we have « Sir -Madre’s treasure », a completely different kind of Western about greed. Based on the novel by B. Trauen, John Hastan’s movie unfolds as a simple but noticeable parable of greed. Humphrey Bogart is shot as Fred Dobs, a dubious, conceived by the golden prospector seeking the opportunity when traveling with his partner Bob (Tim Holt) to the Mountains of Mexico. However, before anything from this, both Fred and Bob initially cheated wages from previous work and make them return their hard (and hard) way. And only when the couple goes into the search for gold, their real hearts are known to us. Suspicious and paranoid, these men scheme against others and with each other before participating in a variety of shenyns and, after all, pass a terrible rude awakening.
The game of such a sullen character consumed by greed was a gambling game for Bogart, which usually embodied heroic or morally gray figures (to which we end up) by this point in our career. Fred transformation, of course, does not happen over the night; In the form of literal events and visual images there are many forests, accompanied by corruption with a slow burning, which is inferior to the place of paranoia, caused by greed. You would think that two men who know what it is to be deceived and get rid of their salaries will understand the pitfalls of greed, but is we so quickly learning? If anything, the fact that Fred and Bob were deceived at the beginning of the film enhances their paranoic suspicion. They know The fact that their comrade does not deserve trust and the only way to wish gold is to snatch it out of the hands.
The coordination and thematic contrast between the « wild pile » and « Sierra -Madre » reflects a diverse range of material that can be placed by the western genre. While one film staffing its forbidden renegades as imperfect men of honor, the other completely deprives two of their work classes of their basic humanity. Despite these innate differences Beikinpa’s movie was actually inspired by a non-Western Hastonisolation of a complex network of influence that can help form positions in the genre. As long as these films continue to record the complexity of human experience, this genre will always have more space for additional records.
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