Jinete pálido

I'll give you one good reason why shouldn't miss this movie: Clint Eastwood. If you are a fan of Westerns or even when you only like to watch one occasionally, than you should know more than enough. In my opinion Clint Eastwood is the one and only true Hollywood cowboy.

When a mysterious preacher - no-one knows where he comes from, what his past is, they don't even know his real name - comes to a gold mining camp near a small town in the mountains, the local miners are in great danger. A ruthless landowner has decided to take their land, he doesn't mind using violence and he has the support of the sheriff. No one seems to be able to stop them. But than the preacher proves to be more than a man of God. He's a good shooter, the sheriff is afraid of him and he's the only one brave enough to rise against the landowner...

If you are looking for an original movie, than you'll have to look somewhere else. This movie uses all the possible clichés that can be found in this kind of Westerns. But on the other hand I must also say that all is done in a very proper way. Eastwood is a fine director and he did what he was best in at the time: he made a Western. The story, the direction, the acting, the scenes,... it all looks professional and more than OK and especially thanks to Eastwood's acting performance in it, this movie is still a 'must-see'. I'm not a big fan of Westerns, but every time that I'm able to see one with Eastwood in it, I'll not let it pass. My advice: if you can see past the fact that it isn't very original, you will almost certainly enjoy it. I certainly did and that's why I give this movie a 7.5/10.

The Westerns is what gained Eastwood mainstream recognition, and he returns to prosperous grounds with this movie. Much like his character, he returns the Western from the dead and avenges their loss of appeal at the box office. A few years later, he was to strike gold with ‘Unforgiven' and although this story is not as gripping as ‘Unforgiven', it is well crafted with minor flaws.

The similarities between this movie and his well-known Spaghetti Westerns are vast, but the difference lies with the superior quality. Once again he is the ‘Man With No Name' defending the weak and settling an old score. Where this one differs from his earlier work is that the characters and dialogue are realistic surpassing the one – dimension norm for the genre. The characters are credible in the sense that each has believable motivations for their actions. The Hood are motivated by their greed and the gold miners are motivated by their dreams. The credibility is thus intact with regards to the characters drives meaning that we now do not have to rely on suspension of disbelief as we witness the action unfold. The dialogue is in sync with each character. The Hood speaks with an educated tongue, but his desperation is apparent as the Preacher stands his ground. The miners speak with little sophistication thus reflecting their social status of the times. The Preacher speaks as we would expect ‘The Man With No Name' to speak. He is cool and rational and what little is said carries a lot of weight. The dialogue thus enhances the rich diversity of characters.

Of special note is the casting. All the actors are well suited to their roles. Stockburn and his deputies are particularly memorable. The deputies look like they are all recruits from Hollywood B type action movies. This by no means understates their significance. Instead of playing their usual outlandish bad guys, they relied on their natural ability to exude devilish intent. They look cold, dark and menacing. There was no dialogue which accentuated their malevolence - talk did not interest them. They were there to do a job and small talk was meaningless. Their movements were slow and methodical thus adding to their character's coldness and creating tension as the harbinger's of death prepared to deal out their own brand of justice – the kind of justice that only dollars can buy. Although the screen time dedicated to these characters was limited, their impact was far greater.

The casting of Stockburn as a Lee van Cleef look – alike was also very good. This could be construed as a lack of originality, but it was ideal for the story. He looks like a weathered, tough baddie, much in line with the impression we have of those times as provided by Hollywood, who had dealt with many situations such as these with a cool, ruthless hand. His dialogue, with assistance from a menacing voice, mirrors his appearance – hard and to the point.

Eastwood is the archetypal ‘Man With No Name'. His natural coolness forms the basis for the character. He has the ability to limit his dialogue and communicate to the audience with the assistance of minimal body language the emotions of his character. The sharpening of a glare was all he needed to show that he was a man with a past who could be dangerous. This was vital to the character since it helped create the enigmatic figure that the Preacher was supposed to be.

An indication of the craft of the movie is the scene where the Preacher starts to help his freind break the rock. The rock became an obstacle that they would have to overcome and they began to realise that if they pulled together, not only could they beat the rock, but the Hood as well. Scenes such as this elevated this movie beyond the Spaghetti Western. Attention had been paid to the story and gratuitous action was obviously never the intention. This is not to say that the movie lacked action, it means that action scenes were an integral part of the story and not as eye – candy offerings for a hormone charged audience.

As well crafted as it is, it is not without flaws. The first is the scenes within the town. It is easy to tell that the town is a small set for the movie due to the camera angles. This became particularly evident when the Hood is trying to bribe the Preacher with an offer of a church in a rich town. This immediately draws attention to the shots within the town which thus highlights the flaw. I have not checked to see whether this is a consequence of a low budget, which would be feasible since Westerns were not as bankable at that time as they were in the past. Even with due consideration of this fact, the cinematographer could still have made more creative use of camera angles to negate this limiting factor.

A more minor flaw is the how the character of Megan is used in the movie. The book has her name in the title which is indicative of the fact that the story is told through her eyes. The telling of a story through the eyes of a young innocent can add various dimensions to the story. The adventures that unfolds before her would have a greater impact on the audience since the struggles of a child will touch the audience more than that of an adults. People always sympathise for the young. It can add complexity to the story since a child's emotions and pre – conceptions will create more opportunity for conflict. There was effort made in this direction, but I feel that if Megan had been given more opportunity to tell the story from her perspective, the story would have been more emotive appeal.

Westerns will always have an audience, although their popularity may fluctuate over time. The lawlessness of the times set the stage for good storytelling and unfortunately also poor storytelling. In the past, they concentrated on a Hollywood B style movie with characters existing as an excuse to pull a trigger in the outlawed West. This formula worked for a while, but the stories lacked the substance to withstand the test of time. This has led to the present situation where the few that have now been on offer have shown an increase in quality. This is probably due to the fact that the limitation in audience appeal has meant that the story has to be of solid value in order to attract the investors. As with all genres, they have actors that are naturally adept to the role. Eastwood was such a man for the Westerns. We now wait for his successor to carry on the legacy of ‘The Man With No Name'.

During the early 80s, the Western genre was beginning to lose its position in Hollywood, and losing its impact on the audience. And the financial disaster of the Western "Heaven's Gate" did not really make very many producers any more enthusiastic about putting their money in to make Western films. But one of the producers, more famous as an actor and director, who was willing to make another Western, was Clint Eastwood. Maybe because Westerns like "The Good, the Bad, and the Ugly" had started his career in the 60s, he felt he owed it to at least himself to try and revive the genre before Hollywood officially threw it in the scrap pile.

"Pale Rider" was, and still is, a phenomenal success of a film. After its release, the Western genre was saved and brought back to life for several more years. It has fallen down nonetheless, but has not disappeared from cinema screens. And we really owe it all to Clint Eastwood for this film. "Pale Rider" is one of his best Westerns. It is well-acted, well characterized, has plenty of action, and is overall a great achievement.

As one might expect, Clint Eastwood plays a mysterious stranger in this film. Very much like in the Dollars Trilogy and "High Plains Drifter", his character is never given an actual name. The character Eastwood plays in this film, however, is different than the squinting gunslingers he played in the past. This character is more anti-violent than the previous ones and doesn't even put his hand on a six-gun until the film is more than half-over. He mingles with the bad guys plenty of times, but rarely ever with a shooting iron. He's still a man of few words, but isn't as cold and self-concerned.

Along with Eastwood, we have a cast made up of fine actors such as Michael Moriarty, the late Chris Penn, Richard A. Dysart, and one of the most popular of Western villains John Russell as a corrupt marshal by the name of Stockburn. Russell's character is one of the coldest cinema villains I've seen in a long time and his limited screen time aids in his impact and appearance. Russell's cold, almost lifeless voice added with Lennie Niehaus's eerie background music score brings a spine-chilling atmosphere to the film when the character speaks some of his first dialogue in the film. Like Eastwood's character, Stockburn is a character that says little, yet still delivers an enormous impact.

Scenery in "Pale Rider" was absolutely beautiful, especially when combined with the effective lighting and cinematography. Many times in the film, we see a mountain directly smack center in the background. The cinematography is most of the time, dark and eerie. Dark scenes are even darker than usual, making this vision of the Old West even dirtier and savage than in most Westerns. And yet it isn't shown as being entirely savage, for it wasn't. True, the West was a tough place to live in the 19th century, especially during feuds over gold, but it wasn't a day of just regular killing.

Some people have accused "Pale Rider" was being a rip off of the classic 1953 film "Shane". I will not deny the fact that they are very similar in a lot of regards and share similar scenes. A stranger coming to a settlement in the Old West during a feud between a successful land tycoon and homesteaders on land he wants was used in "Shane". But "Pale Rider" is in no way, shape, or form a rip-off. Any similarities to "Shane" is a homage, a tribute of respect. After all, Eastwood was attempting to save the Western genre, and perhaps this was his way of reminding the audiences of the great films of the past. Yet, he could do it without copying it. He just re-visioned it.

In the Sergio Leone spaghetti westerns of the 60s, Clint Eastwood rose to fame playing the man with no name. In 'Pale Rider', Eastwood creates his own variation of this character. Eastwood plays a mysterious gunfighter who is given the name 'preacher' because of the preacher's collar he wears. When the 'preacher' arrives at a gold mining community, he helps them stand up against a callous landowner.

Eastwood cuts deep into the film's characters in what is a rather standard script. Particularly, in the scenes involving the preacher and a gold-mining family. Eastwood also succeeds in giving his film a dark atmosphere which only adds to its intensity.

'Pale Rider' may not be as good as the director's best westerns, 'Unforgiven' and 'The Outlaw Josey Wales', but it can be regarded as a strong effort in what has been an illustrious career for Eastwood.

Rating: (8/10)

A drifter (Clint Eastwood) comes to a mining village in the Old West just in time to reckoning gunslingers and owners . He is a mysterious preacher who comes to the aid of gold prospectors and protects a humble embattled prospector (Michael Moriarty) and his woman (Carrie Snodgres) from a greedy mining company (ruled by LaHood , Richard Dysart, and his son Josh LaHood , Chris Penn) trying to encroach on their land . Meanwhile , the Good Stranger is idolized by their daughter named Megan (Sydney Penny). As the wealthy owner contracts a group of outlaws as hired gunfighters (led by John Russell who also acted as villain in Rio Bravo) to kill miners . The title ¨The Pale Rider¨ refers to the Four Horsemen of the Apocalypse from the Book of Revelation, chapter six , Megan is reading the exact verse when she and her mom first see Preacher ride up to their house.

Well crafted Western with interesting screenplay written by Michael Butler and Dennis Shryack . Although atmospheric , it's also sometimes slow-moving and winds up into a spectacular showdown . This stirring picture contains a powerful examination of morality and hypocrisy on people as well as an enjoyable message about faith and hope . Clint Eastwood is unforgettable in the title role coming to help a group of struggling miners and homesteaders . Clint Eastwood revealed in interviews that his character is in fact a ghost. Other clues to the Preacher's true nature are the ghastly bullet wound scars seen when he is dressing, and his sudden appearances and disappearances throughout the movie . During shooting, Clint Eastwood sustained what he describes as the worst injury he has ever had on set when a horse he was riding fell through thin ice and launched him forward as Clint suffered a dislocated shoulder . Good casting with several secondaries as Carrie Snodgress , Chris Penn , Doug McGrath , Richard Kiel , Charles Hallahan , Billy Drago and special mention to John Russell as a downright nasty. Exquisitely shot in Panavision by Bruce Surtees , son of classic cameraman Robert Surtees , with a magnificent cinematography on the wooded exteriors and snowy mountains backgrounds. Acceptable production design by veteran Edward Carfagno , though the train station built for production was used again late in 1988 for Back to the Future Part III . Thrilling as well as sensitive musical score by Lennie Niehaus . The film is made in somewhat similar style to ¨Shane¨ by George Stevens , and which so much cloning of ¨High plains drifter¨ also directed by Eastwood only this time the drifter appears to have been sent from hell rather than heaven to right from ordinary injustices . Star, producer , filmmaker Eastwood realizes an excellent film and perfectly directed . This classic Western as good as the notorious ¨Josey Wales¨ is splendid in every way . Later on , Eastwood produced and directed another successful Western ¨Unforgiven(1992)¨ also with some common theme.