Reviews

What is a Western? The genre conjures up images of gun totting cowboys, reckless outlaws and fierce encounters in countryside saloons. True, this was the setting that prevailed during the 19th century American West.

A few directors in the past have tried to present the West in a more refined way, giving importance to the settings and the characterization. Among them is Henry Hathaway's True Grit, an emotionally charged Western about a fearless; one-eyed Marshall named Rooster Cogburn.

The film very stylishly brings to fore the Western countryside, from the scenario at a public hanging to the courtroom drama. In the latter we see some tense and heated exchange of words between the prosecuting lawyer and the Marshall.

The intriguing plot unfolds itself very nicely on the silver screen. The story is simple. Tom Cheney, a cowboy, kills his employer. Maddie (Kim Darby), the headstrong daughter of the employer, vows to take revenge and get Cheney hanged for the murder of her father. For the mission she enlists the support of one Rooster Cogburn (John Wayne). Now this Rooster is the meanest Marshall in the entire territory. Having lost one of his eyes in the war, he is totally fearless in disposition, talks brazenly and has an unconventional sense of humor. Despite his hardened exterior, he is warm and benevolent at heart. This is evident in the conversations between him and Maddie.

The third angle to the mission comes in the form of Sgt Lebeof (Glen Campbell), an enthusiastic Texas Ranger, who is after Cheney for his own motive of collecting ransom money. At first instance, Maddie has reservations about Lebeof. He comes across as an ill mannered, uncivilized guy to her. Convinced that Maddie will not make him a party to the pursuit of Cheney, Lebeof, secretively, unknowing from her, teams up with Rooster. He takes Rooster into confidence and through him manages an entry into the chase for Cheney.

The character of Lebeof is an interesting study. He comes across as an inexperienced person who has a knack for saying something silly all the times. He is rebuked many times for such uttering by both Maddie and Rooster.

Rooster had his own reasons for going after Cheney. It so happened that this Cheney was an accomplice of ‘Lucky' Ned Pepper (Robert Duvall) and Rooster had some unfinished business with Ned. He recently had shot Ned in the lower lip during a confrontation but Ned had escaped. Now this chase provided Rooster with another shot at Ned.

The chase is beautifully picturized. Especially the final confrontation between Ned's gang and Rooster. The action sequence in this scene must be seen to be believed.

The reverberating and sweet music score by Elmer Bernstein forms an integral part of the plot. Glen Campbell has rendered the opening title song in his trademark voice. True Grit is a treat to watch for its believable depiction of the life and times of the West. Henry Hathaway, a specialist director of the crime, western and thriller genre has masterfully directed this flick. Re-uniting with Wayne after Sons of Katie Elder (1965), he has managed to extract the very best from his leading man. John Wayne has essayed the role of his lifetime. It is impossible to imagine anybody but him in the lead role as a tough, uncouth and drunken Marshall. Interestingly, Wayne won his only Oscar for this role in 1970.

'Ben Hur' stands out as a towering classic which has withstood the test of time. The film's finale, particularly the chariot race would ever remain etched in my memory. The director has spared no effort in making the race look truly realistic and magnificent. The photography and the camera angles are brilliantly handled by William Wyler in this epic sequence. Note the instances in the race when charoiteer after charioteer collides with the track edges and crashingly falls to the ground.

The story narrates the experiences of Judah, a nobleman who unknowingly gets entangled in a feud with the governor of the land. He pays the price when his family is wrecked upon by the governor. At last, in the end he has his revenge by defeating the governor in the chariot race.

In addition to the main plot, a sub plot is also narrated in the film wherein the life of Jesus Christ is showcased. As the movie ends, you realize that you did witness the full life of Christ on the silver screen. This too, without seeing the face of Christ even once! This cinematic effect is used to perfection by the director and believe me it has come beautifully on the screen.

Charlton Heston seems tailor made for the role of Judah Ben Hur. He has that Roman built and looks in his eyes. Stephen Boyd as Messala, the governor, is menacing at times.

The original score of the film is haunting. It is in tune with the mood of the film, grand, reverbrating and spectacular. Particularly notice the score which comes in the background to scene where Christ is being born.

Some scenes from the film tend to stick with you long after you have seen the movie. For instance, the scene where Judah first meets Christ and the latter offers him water. And the scene where Christ is being taken for crucification through a sea of onlookers.

I agree that most critics pan the movie regarding its length. But the pace of the movie and the spectacle in Ben Hur is such that you never notice where the 212 minutes go once you start watching the movie.

Clearly one of the best of its genre, Where Eagles Dare, comes across as a powerful espionage drama with a high dose of adrenealin. Although the screenplay is quite convoluted, it is extremely engrossing and keeps the viewer on the toes. In fact the intertwined storyline adds to the vigor and vitality of the film. Its like a guessing game which the director plays with the audience.

Richard Burton charts out of his usual epic and sensitive roles and dons on the mantle of a tough Major. He is ably supported by Clint Eastwood who is impeccable in his little speaking role of of Lt. Schhaffer.

The cinematography and background score catapults the film to new heights. The title music is haunting and remains with you hours after you finishing watching the film.

I feel that maybe a little more deft editing would have enabled the film to be labled as a classic.

The Good The Bad and the Ugly is comes across like the scorching sun in the middle of a desert. Its high octane action together with breathtaking cinematography and powerful characterization are a treat to watch.

The film is about three outlaws: each peculiar in himself. Blundy is the good. Although he is an outlaw, at heart he nurtures a good spirit. (consider the scene where he lets a dying soldier smoke a puff off his cherhoot.). This role catapulted Clint Eastwood to the height of stardom. Eastwood's flat intensity, the terse emotions and that faintest smile ever imagined suited the requirements of this role perfectly. 'Angel Eyes' is the bad, crooked guy. I couldn't have imagined any other actor than Lee Van Cleef essaying this role to the hilt.

Perhaps the most happening and interesting character is of Tuco, the ugly. Eli Wallach provides the much needed comical interludes through this character in this gunslinging action packed potboiler.

On the whole, the film is a landmark in the western genre and is liked by fans even today, 35 years after it was made.

The first edition of the trilogy of JRR Toliekein's novel is a cinematic epic!! Apart from the main storyline, the accessories in the film, namely background score, casting, characterization and the entire atmosphere transports the audience to that ancient era when the earth was at its formative stage. The film has beautifully showcased the narration of the novel.

Truly in the league of Star Wars (1977). As George Lucas' spectacle had hearlded the era of hi-tech digital effects in the 70's, Lord of the Rings has ushered in a revolution of an entire novel way of film-making. Peter Jackson should be saluted for that!!