SAMTHEBESTEST
Joined Feb 2014
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SAMTHEBESTEST's rating
Reviews3.1K
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Duel In The Sun (1946):
Brief Review -
A film led by bad characters that was unnecessarily remade twice in Bollywood - Saiyan (1951) and Janbaaz (1986). For many viewers in India, Janbaaz is considered a better version of Duel In The Sun, but for those who know the real magic of old Hollywood westerns, this film was ahead. Many people aren't even aware of Saiyan, which was made in the early 1950s when censorship codes and audience acceptance were far more restrictive, resulting in a much kinder and softer version of the story. In my opinion, Duel In The Sun wasn't such a classic that it deserved two Indian remakes. Perhaps it was the love triangle involving two brothers that attracted filmmakers here. The story revolves around two brothers who fall in love with the same woman. The major issue, however, is that the film is driven by morally questionable characters - the girl, the younger brother, and the father. All three make mistake after mistake, yet none of them seem truly bothered by their actions. The elder son is the only gentleman in the narrative. He makes no mistakes, but his character is pushed to the background, which is where the film falters. It's not a pleasant experience watching deeply flawed people dominate the narrative while the one good character remains sidelined. That said, the storytelling is effective, and the narrative never really loses its grip. Perhaps it's because we keep waiting for the wrongdoers to face consequences or finally confront their conscience - but that never happens. Instead, the film settles for a predictable ending wrapped in forced tragic melodrama that hardly moves you emotionally. I mean, how am I supposed to feel sympathy for two reckless lovers after witnessing so many of their mistakes? They deserved that fate, but the film didn't need to sentimentalise it. The performances, screenplay, and King Vidor's firm grip on the storytelling save the film from becoming a complete disaster. It may not be great cinema, but it is undeniably gripping and engrossing. You stay entertained for two and a half hours - if that's all that counts - only to be left with a rather mediocre ending.
RATING - 6/10*
By - #samthebestest.
A film led by bad characters that was unnecessarily remade twice in Bollywood - Saiyan (1951) and Janbaaz (1986). For many viewers in India, Janbaaz is considered a better version of Duel In The Sun, but for those who know the real magic of old Hollywood westerns, this film was ahead. Many people aren't even aware of Saiyan, which was made in the early 1950s when censorship codes and audience acceptance were far more restrictive, resulting in a much kinder and softer version of the story. In my opinion, Duel In The Sun wasn't such a classic that it deserved two Indian remakes. Perhaps it was the love triangle involving two brothers that attracted filmmakers here. The story revolves around two brothers who fall in love with the same woman. The major issue, however, is that the film is driven by morally questionable characters - the girl, the younger brother, and the father. All three make mistake after mistake, yet none of them seem truly bothered by their actions. The elder son is the only gentleman in the narrative. He makes no mistakes, but his character is pushed to the background, which is where the film falters. It's not a pleasant experience watching deeply flawed people dominate the narrative while the one good character remains sidelined. That said, the storytelling is effective, and the narrative never really loses its grip. Perhaps it's because we keep waiting for the wrongdoers to face consequences or finally confront their conscience - but that never happens. Instead, the film settles for a predictable ending wrapped in forced tragic melodrama that hardly moves you emotionally. I mean, how am I supposed to feel sympathy for two reckless lovers after witnessing so many of their mistakes? They deserved that fate, but the film didn't need to sentimentalise it. The performances, screenplay, and King Vidor's firm grip on the storytelling save the film from becoming a complete disaster. It may not be great cinema, but it is undeniably gripping and engrossing. You stay entertained for two and a half hours - if that's all that counts - only to be left with a rather mediocre ending.
RATING - 6/10*
By - #samthebestest.
Blood On The Moon (1948):
Brief Review -
Robert Wise rides a solid Western with Robert Mitchum. Wise had many strong films to his credit, but I never quite expected him to be this effective with a Western-especially one of this kind. The film is dark, gritty, and far more conventional on the surface than its underlying story deserves. The credit, of course, goes first to Robert Wise, and a close second to Robert Mitchum. He looks terrific as Garry, a man hired as a gunman who switches sides the moment he realizes he has made a mistake. What follows is guilt, regret, and the urge to make things right. He is beaten, cast out, and left to deal with his conscience. It's an honest character arc, and that moral struggle is exactly what a Western drama like this needs to truly connect with audiences. Another strong aspect of the film is the leading lady, who takes charge in many pivotal moments. She plays a crucial role in shaping the protagonist's choices and ultimately influences the direction of the story. The film lacks a truly powerful antagonist, but that shortcoming doesn't hurt much, as the sincerity of the central duo makes up for it. The screenplay is tightly paced and keeps you engaged throughout. From start to finish, Blood on the Moon remains gripping. The cinematography is a visual treat despite the black-and-white format, with moody lighting and dark frames adding texture to the narrative. The sound design leaves a solid impact, and the production design feels polished and authentic. Wise takes a relatively simple setup and turns it into a compelling Western drama. The noir touch works beautifully, as the conflicts never feel forced and the narrative flows naturally. The supporting cast could have been stronger, and the antagonist lacks depth-that's where the film falters. Still, it remains a fun watch and genuinely good cinema.
RATING - 6.5/10*
By - #samthebestest.
Robert Wise rides a solid Western with Robert Mitchum. Wise had many strong films to his credit, but I never quite expected him to be this effective with a Western-especially one of this kind. The film is dark, gritty, and far more conventional on the surface than its underlying story deserves. The credit, of course, goes first to Robert Wise, and a close second to Robert Mitchum. He looks terrific as Garry, a man hired as a gunman who switches sides the moment he realizes he has made a mistake. What follows is guilt, regret, and the urge to make things right. He is beaten, cast out, and left to deal with his conscience. It's an honest character arc, and that moral struggle is exactly what a Western drama like this needs to truly connect with audiences. Another strong aspect of the film is the leading lady, who takes charge in many pivotal moments. She plays a crucial role in shaping the protagonist's choices and ultimately influences the direction of the story. The film lacks a truly powerful antagonist, but that shortcoming doesn't hurt much, as the sincerity of the central duo makes up for it. The screenplay is tightly paced and keeps you engaged throughout. From start to finish, Blood on the Moon remains gripping. The cinematography is a visual treat despite the black-and-white format, with moody lighting and dark frames adding texture to the narrative. The sound design leaves a solid impact, and the production design feels polished and authentic. Wise takes a relatively simple setup and turns it into a compelling Western drama. The noir touch works beautifully, as the conflicts never feel forced and the narrative flows naturally. The supporting cast could have been stronger, and the antagonist lacks depth-that's where the film falters. Still, it remains a fun watch and genuinely good cinema.
RATING - 6.5/10*
By - #samthebestest.
Four Weddings And A Funeral (1994) :
Brief Review -
A delightful British romantic comedy about finding true love. There are old-school love stories that look predictable from start to finish, yet you still end up enjoying them a lot. Four Weddings And A Funeral has a lot of spoilers right in the title, and needless to say, the story follows exactly that pattern. There are four weddings and one funeral, and all these events directly or indirectly bring our leading duo together. At a wedding reception, Charles meets an American woman, Carrie, and they end up making love. The next day, she returns home, and the love story ends before it could even properly begin. Both of them know from the very first moment that there is something between them; it's just about timing and unspoken confessions. Later, when Charles is finally about to express his feelings, she drops a bomb by informing him about her marriage. Heartbroken, Charles starts looking for a replacement and is himself about to get married when he learns that Carrie is now single. You can easily guess what happens next. Yes, there's a happy ending and a kiss to seal it. The end. You might think there's nothing particularly interesting or special about the story, and I'd say you're right. Yet, you'll still enjoy the film. It may not be a great classic or a highly memorable one, but it's certainly watchable. Some jokes are funny in an organic way-nothing hysterical though. The performances are fine, led nicely by the central duo. Hugh Grant and Andie MacDowell do really well here, and the supporting cast is notable too. The film lacks uniqueness and sharp comedy, but its smooth and simple drama does the trick. I don't quite understand why this film became so popular and earned a cult following-it's honestly not that good. Mike Newell's subpar direction weakens it in parts, but there's undeniable old-world charm here. Some old-school love stories are just hard to hate, and this one is among them. One hero, one heroine, several misunderstandings, and true love at the end-yes, it's old school, and I love it.
RATING - 6/10*
By - #samthebestest.
A delightful British romantic comedy about finding true love. There are old-school love stories that look predictable from start to finish, yet you still end up enjoying them a lot. Four Weddings And A Funeral has a lot of spoilers right in the title, and needless to say, the story follows exactly that pattern. There are four weddings and one funeral, and all these events directly or indirectly bring our leading duo together. At a wedding reception, Charles meets an American woman, Carrie, and they end up making love. The next day, she returns home, and the love story ends before it could even properly begin. Both of them know from the very first moment that there is something between them; it's just about timing and unspoken confessions. Later, when Charles is finally about to express his feelings, she drops a bomb by informing him about her marriage. Heartbroken, Charles starts looking for a replacement and is himself about to get married when he learns that Carrie is now single. You can easily guess what happens next. Yes, there's a happy ending and a kiss to seal it. The end. You might think there's nothing particularly interesting or special about the story, and I'd say you're right. Yet, you'll still enjoy the film. It may not be a great classic or a highly memorable one, but it's certainly watchable. Some jokes are funny in an organic way-nothing hysterical though. The performances are fine, led nicely by the central duo. Hugh Grant and Andie MacDowell do really well here, and the supporting cast is notable too. The film lacks uniqueness and sharp comedy, but its smooth and simple drama does the trick. I don't quite understand why this film became so popular and earned a cult following-it's honestly not that good. Mike Newell's subpar direction weakens it in parts, but there's undeniable old-world charm here. Some old-school love stories are just hard to hate, and this one is among them. One hero, one heroine, several misunderstandings, and true love at the end-yes, it's old school, and I love it.
RATING - 6/10*
By - #samthebestest.
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