Henry Hathaway
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Connections, in both directions
The plot is a mashup of two John Wayne westerns, "The Searchers" and "True Grit," that can't match either in emotional impact.
If we were to conduct a poll of the most trusted actors in America, I’d argue Tom Hanks would be near the top of that list — and Hanks is perfectly cast as an 1870 news anchor of sorts in Paul Greengrass’ gritty and visceral and deeply resonant “News of the World,” a rough-and-tumble Texas road-trip movie that plays like a hybrid of the John Wayne movies “The Searchers” and “True Grit” and even reminded me a little of George Clooney’s recent epic “The Midnight Sky.”
It reminds you of both classic John Wayne films–“The Searchers” and “True Grit.”
Adapted by Luke Davies (“Lion”), the plot is derivative of other father-figure westerns such as “Ride the High Country” (1962) or “True Grit” (1969), but the language barrier makes it a fresh take on an old idea.
What we have here is a cross between two classic John Wayne movies: “The Searchers” and “True Grit.”
Greengrass surrounds his star with a stellar ensemble, including Ray McKinnon, Elizabeth Marvel (solidifying the already unmistakable connection to “True Grit”), and Bill Camp (who only has one scene, but it’s a beaut).
One scene sums up its violent grandiloquence nicely: a shootout in a fireworks factory between the world's number-one hit man, O, a young slicked-back, cooler-than-a-Popsicle Japanese hipster played by model-singer-actor Takashi Sorimachi, and its number-two killer, Tok, a Chinese assassin played â with nervous giggles that echo back to Richard Widmark's old-lady killer in Kiss of Death â by Hong Kong icon Andy Lau.
Además de las inevitables alusiones (conscientes e inconscientes) a su propia obra, ambos directores han referido al western Temple de acero ( True grit , 1969) como una importante fuente de inspiración para Moana .
Eastwood’s portrayal of Walt echoes a career capper of his predecessor John Wayne, but rather than the self-parodying True Grit it’s the similarly mournful The Shootist (directed by Clint mentor Don Siegel).
This has always been true of Eastwood, just as it was with John Wayne (who nevertheless won the Best Actor Oscar for "True Grit").
I grew up on movies about King Arthur, Guinevere, Lancelot and the rest off the knights from the 1953 film “Knights of the Round Table,” “Prince Valiant,” “A Connecticut Yankee in King Arthur’s Court,” and “Camelot” to John Borman’s 1981 sword and sorcery fest, “Excalibur.”
When it was announced that Joel and Ethan Coen were set to remake John Wayne’s greatest movie, “True Grit,” it heralded a culture clash of the titans, as if U2 were to hold a jam-off with Beethoven, or Annie Leibovitz were a finalist against Renoir in “Portraiture With the Stars.”
REVIEW | Western Competence: The Coens Play It Safe With "True Grit"…
Filmmakers Joel and Ethan Coen had never made a genuine Western before they made 2010's "True Grit."
It’s been well documented the the Coen Brothers’ take on True Grit isn’t a remake of the 1969 film that won John Wayne his only Academy Award but rather a more faithful adaptation of Charles Portis’ novel.
True Grit does, and some Coen brothers fans may think that makes it pandering or lightweight.
Leto seems to be channeling, consciously or otherwise, Richard Widmark in the 1947 noir Kiss of Death—that’s the one where Widmark’s truly creepy-evil character pushes an old lady in a wheelchair down the stairs.
It is bad in spite of borrowing liberally from the 1950 Henry Hathaway cult classic “The Black Rose” (stream it!).
First are the stylistic choices by Dominik, such as cutting in and out of black and white, impressive recreation of screens from Monroe classics such as “Some Like it Hot” and “Niagara,” and the hard Marilyn POV that pays off – kind of – when she’s with JFK and pumped up on sedatives by a doctor ever slinking around the edges of the set.
After engaging in a threesome, Norma, Cass, and Edward are seen attending a screening of “Niagara”.
One fabulous transition involves an orgasming Norma, head thrown back, clasping at a bed that becomes waterfalls overlaid by the title cards for “Niagara.”
It is reminiscent of what happens in the first “True Grit” movie between Kim Darby and Strother Martin about a horse.
Such films include the famous (All the President’s Men, 1974) and the not so famous (Call Northside 777, 1948).
His main pursuer, Anton Chigurh (Javier Bardem in Robert Wagner’s haircut from “Prince Valiant”), is Death, without a pale horse.
“Logan”, la entrega más reciente sobre Wolverine, una de las figuras centrales de los “X-Men”, es un filme que ha agradado ampliamente a sus fans, toda vez que el director James Mangold llevó a otro territorio el guión de Mark Bomback y Scott Frank, quienes tratan con respeto las claves fantásticas de la saga de Marvel, pero los nutren con referentes del western crepuscular, mediante la directa alusión a “Shane” (George Stevens, 1953), pero que también podría haber sido a “True Grit” (Elmer Bernstein, 1969) e incluso a “The Unforgiven” (Clint Eastwood, 1992), entre otras.
Once Upon a Time... in Hollywood (2019)
Directed by Quentin Tarantino
influenced by Rawhide (1951), True Grit (1969)
Characters
Leo DeCaprio plays Rick Dalton, a washed-up B-movie actor who made Westerns in the 1950s and then was forced to work on TV shows similar to “Rawhide” in the sixties when he was no longer a bankable star.
The sun-dappled yet decaying milieu of 1969 Hollywood — a year that saw the rivalry of two very different cowboys, John Wayne in the PG-rated True Grit and Jon Voight in the X-rated Midnight Cowboy — is lovingly realized by Tarantino and cinematographer Robert Richardson.
Captain Marvel messes up Women’s History Month because its juvenile story goes against the feminine confidence that Inger Stevens showed 50 years ago in 5 Card Stud when she told Dean Martin, “If I wanted to kill a man, I wouldn’t have to use a gun.”
As "True Grit" was for John Wayne, this is also something of a last hurrah for Eastwood's "man-with-no-name" persona, but because Eastwood is who he is, it is a dark and ominous goodby, brooding and stormy.
For example, Lukes return to a burnt-out homestead and Han Solos showdown in the cantina with a hired-gun monster are classic Western confrontations (the former appears to be directly inspired by the key motivational scene in "Nevada Smith" which Lucas has integrated brilliantly into another context.
It goes on the list with "National Velvet" and "Robin Hood" and "The African Queen" and "The Treasure of the Sierra Madre" and "Gunga Din."