TheFerryman
Joined Jan 2003
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TheFerryman's rating
This is a minor entry in Bunuel's Mexican period. It's a farce of sorts, that starts as a melodrama and ends up like a screwball comedy. There are some little Bunuel touches here and there, especially in the first half of the picture, but all in all this can't account among Don Luis' most personal films. Technically it is as usual superb. There's one elegant 20 year transition that takes place in the dark between the closing and opening of a cupboard and a puzzling breaking of the fourth wall at the end, when Don Quintin approaches the camera and talks to the audience before going back to the happy ending. I liked the idea of a cabaret called El Infierno decorated with flames and big puppet devils hanging from the roof. Only a man like Bunuel could come with such stuff.
A standard western with something of a Greek Tragedy, "Lawless Breed" romanticizes the life and exploits of one of the most legendary gunmen of the far west.
The film has some fine moments, notably the scene where Rock Hudson shoots Lee Van Cleef down amid a wind storm.
The events are quite predictable and the film becomes eventually formulaic. Veteran Raoul Walsh shows his craftsmanship solving scenes with great economy and pace.
Hudson is less obscure than many of the heroes of his films, and that makes me think what kind of picture this could have been with a less likable actor.
The film has some fine moments, notably the scene where Rock Hudson shoots Lee Van Cleef down amid a wind storm.
The events are quite predictable and the film becomes eventually formulaic. Veteran Raoul Walsh shows his craftsmanship solving scenes with great economy and pace.
Hudson is less obscure than many of the heroes of his films, and that makes me think what kind of picture this could have been with a less likable actor.
A sublime film. Probably one of the most melancholic pictures ever made in the classic period. It is one of the earliest and strongest portraits of the tragic hero, so recurrent in Walsh's filmography. Bogart's character, a mournful, resigned old-timer who witnesses the gradual downfall of the world as he knows it, dresses in black all through the film, like the mute and only assistant to his own funeral. As other Walsh anti-heroes notably White Heat's Cody- he must reach the heights before him dies. One wonders what would have been of the Bogart, Cagney, Flynn or Raft persona without their significant roles in the Raoul Walsh films. It's remake, Colorado Territory, is even better.