Last Man Standing

They say that imitation is the sincerest form of flattery - When the Last Man standing first came out, it was hard not to make the connection between that film and Yojimbo (since Yojimbo's script was credited -although not the original source for Yojimbo, an American crime novel, red Harvest, by Dashiell Hammet - Yojimbo's Kurosawa also forgot to credit in his film). But even a critic as astute as Roger Ebert only thought the film was only 'similar' to "Fistful of Dollars" even though the plots of the two films have more in common than that of this film and Yojimbo.

Since then, I have watched all the films several times. Now is as good a time as any to reflect on the matter again.

The Last Man Standing does not hold up as well as I had hoped; the saturated sepia tones of the film now appear to be a mannerist affectation. It was certainly a transitional film for Willis - the role is pretty heavy - but the Sixth Sense rewrote the book on Willis far better than any of his other off-cast roles could, since (unlike the others) it never made any pretense at being an action film. The voice over is a little pretentious. And its clear that Hill let the Gothic tone of the film overwhelm his efforts at black comedy. And oddly enough, despite its violence the film could use more action.

Yet the film remains historically important, if nothing else, because it now appears to have been the last of a cycle. Although even Jean-Claude Van Damme actually appeared in a "Yojumbo" clone - "Desert Heat" - and there have been other attempts to revive Hammett's essential narrative (e.g. the "Doom" robot film by Albert Pyun) the fact remains that the nameless outsider quick on the draw is fast slipping into the realm of pure 20th century myth. He doesn't really belong in the era of Computer graphics, invasions of Iraq, wars against non-existent terrorism. His blood is part whiskey, but it's human blood; and he may be a killer, but he won't be a party to genocide. He's too real, and yet too good, for the 21st century rushing in on us.

I take the darkly sepia-toned Last Man Standing as a final farewell to a hero of the previous century, just as Hitchcock's 39 Steps effectively said farewell to the romantic adventurer of the 19th century. Every era has its heroes; and it is sad that Sanjuro/John Smith/the Man with No Name can no longer be one of ours. It's probably too much to ask, but hopefully someone better - or at least as good - will come along.

-E. J. Winner.

This brutal Walter Hill pic has one of the best beatings ever burned to celluloid. It is so brutal, in fact, that the victim (Bruce Willis) looks like Jason from "Friday The 13th" once his attackers get done with him. Even better, he then lurches around like Rondo Hatten in "The Creep Man" plotting his revenge.

The film's final action scene is an awful, indescribable mess, and I have always wondered why Hill and usual editor Freeman Davies opted to construct it this way. It is a shootout presented in a series of dissolves, and it just doesn't work. Hill has always been an adroit director and editor of action, and his fine work has a precision to it that this sequence lacks. Perhaps the camera negatives were damaged or the studio ordered a truncation. Whatever the reasons are for this flawed sequence, it, unfortunately, turns a great movie into a good movie.

The opening sequence, replete with Ry Cooder's smooth scoring, is poetic and beautiful; Willis's arrival in town is directed with skill and energy; and cudos are also in order for the scene in which the first shot is fired and a stuntman is sent flying through a door into the dusty street outside.

Christopher Walken is fantastic as the violent enforcer Hickey, and it is great to see David Patrick Kelly back on the screen as the malicious Doyle.

There are many standout sequences and much to enjoy. Willis's solitary siege of a brothel, for example, is classic Hill stuff in terms of its staging, unapologetic brutality and superb cutting.

That the film is a remake of a remake is of no consequence to me. It is still a rousing, spare piece of masculine entertainment with a whiff of Peckinpah, a dash of Kurosawa, and a splatter of Corbucci.

That ain't no bad thing.

Last Man Standing is directed by Walter Hill who also adapts the screenplay from a story written by Ryûzô Kikushima and Akira Kurosawa. It stars Bruce Willis, Bruce Dern, William Sanderson, Christopher Walken, David Patrick Kelly, Karina Lombard and Ned Eisenberg. Music is by Ry Cooder and cinematography by Lloyd Ahern.

Walter Hill's variant on Yojimbo, plot basically sees Willis as drifter John Smith, who after arriving in the dusty town of Jericho, promptly sets about making some serious cash by playing the town's two gangs off against each other. Smith is one tough hombre, a deadly pistoleer who has a fear of nothing, which is why the two respective gang leaders want him to work for them. Noses get put out of joint, blood flows, scores settled and a anti-hero is born, complete with permanent scowl and dry narration.

The look and sound is terrific, Cooder's pessimistic twangs are all over the plot, while the visuals dovetail between sun-baked landscapes and the misty lensed ghost town of Jericho. Hill brings his trademark stylish violence into play, with slow-mos and rapid fire shoot-outs impressive, while his skill at creating an antique atmosphere is very much in evidence. Unfortunately the narrative isn't up to much, it lacks scope and characters merely exist, making this very much a style over substance exercise. It also means that much of the cast are given only morsels to feed on. A shame when you got Walken and Kelly on overdrive when on screen.

It's an odd blend of a Western with Prohibition Noir characters, but it's unmistakably a Walter Hill film. For his fans there's enough to like about it whilst accepting it's a bit of a throwaway on the page. For the casual crime/action film fan, however, it's likely to be much ado about nothing. 7/10

This movie is a Gangster remake of Clint East Wood's A Fistful of Dollars which is a Western remake of Yojimbo which is a samurai adaptation of Dashiell Hammett's The Red Harvest. When adapting the first time Akira Kurosawa changed the amount of gangs involved from 4 to 2. Every version since then has had only 2. The Continental Op, The Man With No Name, Mifune's Samurai, and Bruce Willis's John Smith. All Nameless. All working all sides to their own end.

As this is the only gangster version of this story, I like this movie very much, though I would like to see a more accurate version of the Red Harvest. When deciding who should play the Continental Op, none come to mind more than Bruce Willis, which of course brings me back to liking Last Man Standing. Not as pretty as those that came before, but pretty cool.

This movie serves fine for some action, with excellently dark shoot-outs being shown as John Smith (Bruce Willis), as he has told us at least, wonders into this town and quickly learns to play the two opposing gangs for all they are worth, willing to kill in the process of course, which he does expertly while wielding two colt .45 1911's masterfully. This movie recalls both the westerns of of the sixties, one of which, For a Fistful of Dollars, is another adaptation of this movie's source material, Akira Kurosawa's Yojimbo, as well as the noir movies of the 40's. This may work for some but it does feel rather odd, in both a good and bad way. Bruce Willis, in grim and monotone manner, is perfect for the narration held in between the shoot-outs. This narration, along with the costume's of the characters, fedora's and all, are cheerful reminders of the noir movies of past, to show that perhaps that genre has a little life left within it. The desert setting in which this 1860's style ghost town, in which the two rival gangs square off, both with help from our main character, is located in is the main reminder then of the western part of this movie as well.

The Plot then is basically Bruce Willis's character playing both sides for whatever he can get. He is grimly cool in a certain way. The gangs then are the Irish, led by Doyle, and the Italians, led by Strozzi. These gangs are essentially copies of each other except for their names and accents, and perhaps their faces. The only difference of course being that Doyle has a psychotic second-in-command, or so we are told at the start of the movie. He, as a psychotic, is played by the true mother of all psychotic playing actors.... You guessed it, Christopher Walken, essentially playing Christopher Walken. The only other occupants of the town then are the sheriff, bartender, and undertaker.

In the end this is movie is certainly a dark one, although it is also not particularly serious in terms of realism. The atmosphere is extremely dark and grim as many characters are killed by Willis as well as Walken. It may actually be found depressing later on in the movie. However, contrary to this, the violence is often slightly comical. In one instance as many as forty bullets are needed to take down a character, and in others people, after having been shot by pistols, fly back several yards in the air. Something will certainly work for everyone who sees this movie, however only some will find all of these mixed aspects pleasurable when placed together as they have been here. This movie definitely employs major style, both in its shoot-outs and visual style. In parts of this film, the color has been diluted so much that it appears more or less selectively colored, such as in Sin City but not so much so. This will work for noir fans as well as those who find this bold style innovative and original, but others will find that it contributes more-so merely to the grim nature of this movie. The shoot-outs, undeniably are the best part of this movie and is all you desire is some good action then this movie fills that desire well. While this movie prefers darkness over fun, the stylistic and violent gunfights as well as the dark style will appeal to many, as it has to me. 7/10