paulmoran99
Entrou em abr. de 2004
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Selos3
Para saber como ganhar selos, acesse página de ajuda de selos.
Avaliações13
Classificação de paulmoran99
Story details by other reviewers of Commanche Station are well written; I would like to look at details of this side-lined Western.
To fully understand the nature of Randolph Scott Westerns you have to think the 1950's; I can because I was there, watching every ' cowboy film ' that came out. Westerns then were part of a boys everyday life. I remember at the age of 8-10 riding around my home town on an imaginary horse; we even formed imaginary posses!.....and Westerns were being shown at local cinemas every week.
Randolph Scott played other parts in his long career but achieved a curious fame as a man-of-few-words cowboy. What was it that drew audiences to him despite his limited acting ability?
It is simply this. He was tall and lean, epitomising the rangy, half-starved loner who is doomed, like the Flying Dutchmen to roam the western badlands fruitlessly. He was stoic, thin- lipped, stern-looking, brooding, with sad eyes, forever looking to the next horizon, as he does in this film. If you look into Scott's face there's faint suggestion of longing, a faint wistfulness, hidden by a determined effort to hide any weakness. It's a face that no other western hero has, making Scott a magnet on screen......in the light of this,his acting ability was not in question.
Comanche Station also has a surprisingly good performance from Claude Akins; in fact, stealing a few scenes from Scott. He epitomized malevolency and cold cunning, but smiled easily, perversely emphasising points he made in the character. One long observation his character made concerning Nancy's return to her husband was loaded with cynicism and spite....perfect.In the action scenes he showed himself also to be a fine horseman.....if that really was him firing a rifle on horseback!
Nancy Gates cruised thru her role with little impact; but what western girl didn't?......in the hard, troubled world of the 1950's clearly defined male cowboy, there was little room for strong females.
Commanche Station is a great Western because of it's love affair with the very nature of the genre; tall enigmatic men, the outback, the wide open spaces, the tumbled rocks that threaten to hide hoards of Indians, and the ever-present but unloved horses, surely the most unsung animal of all time.
You'll remember this film because of these things; but mostly because here, encapsulated in 70 minutes, are all of the elements and nuances that all great westerns have or should have.
What more do you want?!
To fully understand the nature of Randolph Scott Westerns you have to think the 1950's; I can because I was there, watching every ' cowboy film ' that came out. Westerns then were part of a boys everyday life. I remember at the age of 8-10 riding around my home town on an imaginary horse; we even formed imaginary posses!.....and Westerns were being shown at local cinemas every week.
Randolph Scott played other parts in his long career but achieved a curious fame as a man-of-few-words cowboy. What was it that drew audiences to him despite his limited acting ability?
It is simply this. He was tall and lean, epitomising the rangy, half-starved loner who is doomed, like the Flying Dutchmen to roam the western badlands fruitlessly. He was stoic, thin- lipped, stern-looking, brooding, with sad eyes, forever looking to the next horizon, as he does in this film. If you look into Scott's face there's faint suggestion of longing, a faint wistfulness, hidden by a determined effort to hide any weakness. It's a face that no other western hero has, making Scott a magnet on screen......in the light of this,his acting ability was not in question.
Comanche Station also has a surprisingly good performance from Claude Akins; in fact, stealing a few scenes from Scott. He epitomized malevolency and cold cunning, but smiled easily, perversely emphasising points he made in the character. One long observation his character made concerning Nancy's return to her husband was loaded with cynicism and spite....perfect.In the action scenes he showed himself also to be a fine horseman.....if that really was him firing a rifle on horseback!
Nancy Gates cruised thru her role with little impact; but what western girl didn't?......in the hard, troubled world of the 1950's clearly defined male cowboy, there was little room for strong females.
Commanche Station is a great Western because of it's love affair with the very nature of the genre; tall enigmatic men, the outback, the wide open spaces, the tumbled rocks that threaten to hide hoards of Indians, and the ever-present but unloved horses, surely the most unsung animal of all time.
You'll remember this film because of these things; but mostly because here, encapsulated in 70 minutes, are all of the elements and nuances that all great westerns have or should have.
What more do you want?!
I'll keep this simple.Other commentators can guide you through the film. Suffice to say that there are many fine performances in a film of great production values.But you must see this film for one particular performance. Jon Vought grabs his part as Manny Meinham and takes it beyond every other similar part. His acting is a world away from even the best Oscar winners.But this only applies to the first part of the film.His performance in the second part is simply extraordinary.It is compelling, astonishingly convincing and totally absorbing, such that you can't wait to see his next scene. The end scene will, not maybe, stay with you all your life. But don't take my word for it.Extend your film experience and see Runaway Train
High and Mighty is 52 years old now and I'm afraid it shows it. Most of the reviewers of this film have been very generous in their comments, but appear to have their rose-coloured spectacles on.Billed now as the first disaster movie, the real disasters were the special effects, the woeful script, and the lamentable lack of tension throughout the endless film.Thankfully the little boy on board had the good fortune to sleep through it all.
Don't get me wrong; I saw this film in St.Ives,Cornwall, as a lad, and thoroughly enjoyed it; but must you judge a film on how it appeared to you many years ago? Today, I didn't see much Oscar-winning material in a film that knew where it was going, but had no idea on how to get there.Maintaining tension in such a close confine,requires a great script and great directing. This was achieved with memorable effect in 12 Angry Men, in spades. The High and the Mighty is star-studded but none of them gets a actorial break, except Jan Sterling for 8 minutes.; John Wayne's agent should have looked the other way, and Claire Trevor drifts helplessly from scene to scene, to little effect.Robert Newton relentlessly gazes thoughtfully off-screen,determined to keep his face in shot; even a declaration of love fails to move his impassive stance.Robert Stack reprises his Totally Wooden Introspective stereotype, and fails completely to convince, at least me, that he's a pilot with a problem. To my mind, it's as if the director,Wellman,said, "Well folks, there's the set; now do your stuff".Actors, every actor,MUST be directed so that every second they're in front of the camera, is used to further the story; looking at some scenes in this film, I had the distinct impression that Wellman had left the building. The only bright spot was to see, that in 1954, they still had Boeing B-17G's flying around!
Don't get me wrong; I saw this film in St.Ives,Cornwall, as a lad, and thoroughly enjoyed it; but must you judge a film on how it appeared to you many years ago? Today, I didn't see much Oscar-winning material in a film that knew where it was going, but had no idea on how to get there.Maintaining tension in such a close confine,requires a great script and great directing. This was achieved with memorable effect in 12 Angry Men, in spades. The High and the Mighty is star-studded but none of them gets a actorial break, except Jan Sterling for 8 minutes.; John Wayne's agent should have looked the other way, and Claire Trevor drifts helplessly from scene to scene, to little effect.Robert Newton relentlessly gazes thoughtfully off-screen,determined to keep his face in shot; even a declaration of love fails to move his impassive stance.Robert Stack reprises his Totally Wooden Introspective stereotype, and fails completely to convince, at least me, that he's a pilot with a problem. To my mind, it's as if the director,Wellman,said, "Well folks, there's the set; now do your stuff".Actors, every actor,MUST be directed so that every second they're in front of the camera, is used to further the story; looking at some scenes in this film, I had the distinct impression that Wellman had left the building. The only bright spot was to see, that in 1954, they still had Boeing B-17G's flying around!