Tag Archives: Kirk Douglas

MMA17: In a Machiavellian Age, Hitting a Man When Down Is All Good Sport

29 Jun

Opposites in boxer Floyd Mayweather and MMA (UFC) man Conor McGregor have, through their agencies, now negotiated an attraction in (K) for a fight this summer to take place August 26th in Las Vegas, Nevada.

Constituting the first high-stakes, trans-tactic fight, it’s a contest that supporters in the respective fan bodies are hoping its winner to settle the question they’ve wanted answered since the brutish, queer combo of kicks, canvas-clinches and blood-letting pummels was imported onto North American soil back in the 1990s. The query: Who are the best fighters on the Planet?

That said, even if this match of muscle does receive all proper sanction from relevant governing bodies (so many “bodies’) and does take place, its outcome is not likely to end the debate on which manner of fight is most champion.

For starters, Floyd Jr. is no spring chicken. Correction, Mayweather’s not young anymore. For a boxer he’s an old rooster: “Cock-a-doodle-do!”

The reigning WBA and WBC, undefeated welterweight champion (49-0) and Grand Rapids, Michigan native is in his 41 year (2.24.77) while McGregor, UFC lightweight champion (21-3) and product of Dublin, Ireland, is still priming and will turn 29 in July (7.14.88). Mayweather hasn’t fought since he went the distance (12) to defeat Andre Berto in a unanimous decision on September 12, 2015 at, where else, the MGM Grand in Paradise, Nevada.

Weigh-in would size the Irishman a bit bigger:

Mayweather: 5’8” -> high 150s -> 72 inch reach
McGregor: 5’9” -> high 150s -> 74 inch reach

More important than what would appear to be both an age (energy) and bulk advantage to the Islander is that the proposed combatants have been fighting in formats that’re quite different, one could say apples and oranges different.

— — —

I won’t beat around the bush, I like oranges & apples but I don’t like MMA.

Why? You can figure that yourself. Clearly, it’s the ugliest sort of competition. Rollerball has more style. If I wrote MMA had no sporting spirit, no dignity, would it make any difference?

Be that as it may, what I dislike more is unfairness. How noble, right? Wrong.

When you don’t have money, power or position but were blessed, or burdened, with a sense of empathy, fairness matters. And the word is, is that this fight format will be of a strictly boxing nature: No kick or grapple allowed. And that just doesn’t seem fair to the European.

No more fair than it’d be to ask Floyd to find a kicking game in prep and learn to subjegate long held habits like no-grapple nor canvas-attack.

But ‘Conor already knows how to hit with his hands,’ you say. Balderdash. Not like a top boxer he doesn’t, and not with those li’l hand-wraps. So why agree to fight in the first place? Biggest payday ever, over-confidence, I suspect.

The semi-incongruent state reminds me of the Kirk Douglas – Woody Strode gladiator fight in the first hour of Spartacus (1960), the original, as the combatants are armed with different weaponry, KD a stabbing-sword and hand-shield, WS a throw-net and trident. Though ostensibly equal in value, Woody’s weaponry proved the better but he honorably sparred the “Thracian dog” his death blow, then rushed Crassius before getting a javelin in his back and…well, lost his life in the brave attempt. Let’s just say, Olivier’s daggar-wielding character needed a splatter guard (ugh).

— — —

It’s been called MMA (mixed martial arts) since the 90s, more popularly known by its business acronym, UFC (ultimate fighting championship), owned by the investor group WME-IMG with its overseeing authority based in Beverly Hills and Las Vegas. It’s financial face is a man named Dana White, a CT-born boxer turned promoter / president. The female pull has been Ronda Rousey, a woman who doesn’t look the part but also doesn’t win much anymore, either.

Everyone should know how to physically defend themselves, a formal training probably best initiated in grade school. When cowards cheat (unawares, 2-to-1, etc.), results can get skewed, but no one should take a beating because they can’t muster the mind-set or the moves. And women in competitive fighting for profit (boxing / MMA), that’s just disturbing.

I call MMA a plague and a sure sign American culture is fast headed in the wrong direction, no matter which side of the political aisle you seat your keaster.

Of course, pugilism too can be a blood bath and on rare occasion deadly. For those who survive a career in the ring it is not uncommon after enduring years of body blows to then manifest the maladies that come with repetitive physical trauma soon into or before retirement (See; Requiem for a Heavyweight (62)).

But then there is something called assumption of risk.

Along with the waiver (AoR), the moral variety that both boxer and mixer grant upon entering their respective rings, are rules of civilized conduct, even in battle, that pugilists must honor. Chiefly among them are the Marquess of Queensberry (drafted by John Graham Chambers, London, 1865: mits, no grapple, 3-minute rounds, etc.) which set a standard of sportsmanship on the hue and cry of a sport crazed public that had grown angry with corruption, brutality and unfair practices coming to dominate the boxing show.

To some it was irony that John Douglas (MoQ), possessing a mixed reputation, some of its bad aspects undesevered by the ire he had raised in his secularist views and boxing advocacy, through the use of his name, would become the face, the sign of the progressive move towards civility in a sport that, up to the mid-1850s had been and would for years to come, remain quite brutish.

Other rules were incorporated in decades since MoQ took hold, most notably a return to neutral corner at knockdown, made common knowledge in Dempsey – Tunney II on September 22, 1927 at Soldier Field in Chicago when the challenger Jack failed to adhere to his own contracted term, resulting in a longer count for the floored champ Gene who arose to win the rematch on decision.

Do boxing’s rules ensure a fair competition, an honest result? Because of the sport’s checkered past, the fix will always come to mind if a decision appears seriously flawed, but when it’s not, I’d say for the most part, I think they do. The rules set a framework whereby good sport can be achieved. Better yet, nobody gets hit when he (she) is down for the count or in a clinch.

I‘ll be pulling for the man I believe will win the match, boxer Mayweather.

McGregor enters the fray with eyes wide open, mitigating the uneven skills issue. Maybe too wide. Youth gives Conor, presumably, edge on energy in a longer bout but also means the challenger has not realized the wisdom, in all its forms, that comes with age, evidenced sometimes by boyish, pre-fight bravado in mask of having begun to realize one’s bitten off more than one can easily chew.

And a win by Floyd might help slow the media monopolies ill-guided campaign to make MMA a family TV fixture, male teens, anyway. “Good grief.”

Steven Keys
MacroSport
Photo credit: macroecono, lamcasinoroyal, wc.cca, 2011; C.McGregor, wc, 3.30.15, London, A.Petrucenia; F.Mayweather, SanDiego, 8.21.10, Gen.T.Conant, Sgt.D.Gallagher, Cpl,S.Posy; Marquess-of-Queensberry, John-Douglas, wc, 1914, J.Long; blue-boxing image
Posted: 6.29.17 @ 1:50p, edit 7.2; Copyright © 2017
Reference (names / numbers): Wikipedia (UFC / MoQ)

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Yore Movie Swells: The 25 Best Westerns in Filmdom

15 Aug

Vintage Varieties

The American movie Western: As genres go there’s never been one bigger. Not the rat-a-tat-tat of the gangster, surreal sci-fi, hairy horror, animated adorables, action packed drama, marvelous musicals, cockeyed-romance, screwball comedy nor mad-cap adventure. None has measured up to the Western wherewithal.

..........HighNoon.wc.1952,112k.UA(SB2)It had a great run spanning most of the 20th century, from the silent era (“Inceville”) lasting well into the 1980s, generating reliable revenue for all the studios from big dogs like MGM to pesky pups in Monogram (Allied Artists), not to mention the jobs created in the thousands in costumes, stunt-work, catering, cattle-care and the like.

Horse-opera was a celluloid staple, so big King Kong loaded the Swingline®.

From the days of the nickelodeons (How cool were they!) to Main Street cinema and well into TV time, Western heroes, darling damsels, dastardly villains, loyal sidekicks like Gabby Hayes, Pat Brady and Smiley Burnette and trusty steeds, together pulled in fans and ruled ratings from coast to coast, driving many to vacation destinations West in dude ranches and National Parks to capture a little of the sunshine & adventure seen on screen.

With a few exceptions (The Big Valley (Stanwyck) / Westward the Women / Calamity Jane (Day)), the quick-draw artist was a man and focus of the fable.

......Bonanza.Blocker.1960.nbc.wc.87k(SB3)He could be a sheriff (The Tall Man / Gunsmoke) or Federal man (The Wild Wild West), a rancher (Bonanza / The Rifleman / High Chaparral), scout (Hondo), card-shark (Maverick), gun-for-hire (Have Gun Will Travel / Wanted dead or Alive), cattle-driver (Cheyenne) or roaming Robin Hood (The Restless Gun / The Lone Ranger / The Cisco Kid) promoting pistol justice whenever the need arose.

You think today’s celebrity slurp is awesome? Practically peanuts compared to the star-power emitted by the sagebrush set. Oh my darling!

Even as the Babe topped Hoover in 20s salary rank, the chaps chaps, stars like Tom Mix, William S. Hart, Will Rogers, Harry Carey, Richard Dix, later marquee mojos Tim Holt, Randolph Scott, Joel McCrea, Bill “Hopalong Cassidy“ Boyd, Glenn Ford, Jim Stewart, Robert Taylor, Audie Murphy, balladeers Gene Autry, Roy Rogers & Dale Evans, Ken Maynard, Dick Foran, numbered so many they’d fill the ‘house Ruth built’ and needed a crane to haul their loot, all the while keeping kids debating merits of their favorites and Mom & Dad the value of merchandise in toys n‘ such branded with likeness of the heroes.

Which all helps explain why America’s most popular team in it’s most popular sport is named the Dallas Cowboys. Coincidence? I think not, Packer-backers and Pats-rats. Over 20 years since Dallas saw a Super and they still out-sell all. That should tell ya’ something about the motif because it sure ain’t the football.

......CowboysHat.wc.5.16.8.DukeHa.109k(SB4)I caught the tail-end of the trend on TV, back when it was as free as the air you breath. Really.

Nearly all of silver screen big-shots rode the range at least once. There were Bing Crosby & Francis Farmer (Rhythm on the Range), Charles Ruggles & Laughton (Ruggles of Red Gap), Shirley ‘I know I‘ve been here before’ MacLaine (Two Mules For Sister Sara), the “Maid” Olivia de Havilland (They Died With Their Boots On) and even The Public Enemy turned Yankee Doodle Dandy, James Cagney, starred in a Nicholas Ray horse drama, Run For Cover.

What made the Western so popular? They made people feel good. Course, The Simpsons and The Walking Dead do the same for some people.

Maybe it was the independence, bound to no one but a cowboy’s code, one that city dweller and farm folk alike could dream about in their workaday. A fictional world fraught with dangers & corruption but where brains, brave soul and trusty amigo could together find a bright-line solution to save the day in a simpler world than the complicated, ever-changing one of their own times. What’s new?

....Gulager.NBC.Hill.282k.wc.1960-62It was a standard most every Western espoused, not just for fans to admire but maybe one to emulate, aspire towards or one that might simply buck the spirits in a life where getting a fair shake is never automatic.

A cowboy ideal promoting virtues in courage, calm in crisis, sagebrush savvy, trust, comity (sidekick), though, non-conformist man alone was typical, confident but humble, apostle of due process (anti-mob, i.e., Fonda-Morgan The Ox-Bow Incident), reasonable risk and rangy romance but forgoing that if duty dictated (The Searchers). Aces, they were natural born leaders who took all in stride, could be contemplative (♫) and had the rare capacity for self-sacrifice (“Ask not what your country…(JFK)”), a trait you won’t hear touted this 2016 Presidential campaign on either trail.

With success will come the comical treatments. Joe E. Brown (The Tenderfoot), crooner Dick Powell (Cowboy From Brooklyn), Red Skelton (Texas Carnival), Dustin Hoffman (Little Big Man) and Mel Brooks (Blazing Saddles), all using the genre as a backdrop for laughs, romance & song. “♫ Yippee-yi-yo-kayah! ♫”

But the glory days of the saddle stars have long since passed.

......Duvall.wc.S.Quigley.AFPS.WRAMC.9.25.7.63k(SB6)As the public clamored for themes in realism, war drama, soap opera, sex, social change, sci-fi-fx, teen-topics in music (Elvis et al) and the anti-hero like The Wild One, Bonnie & Clyde and Billy Jack, all whose genesis could be traced to the cowboy chromosomes, the Western’s moral play proved incongruent with the Fast Times at Ridgemont High and there abouts.

Excepting that rare Western that appears on the movie plain like a stray steer separated from the herd (Lonesome Dove / Dances With Wolves / Brokeback Mountain / The Unforgiven), it has for the most part ridden off into the cinematic sunset.

And as long as the classics remain, the Western legends and the pros who gave them life will remain too as benchmarks n’ beacons for those spirited souls who seek to come in from the cold reality that blows from today’s typical fare.

Best Westerns*

Lonely Are the Brave (1962 – Universal)

Directed by David Miller, written by Ed Abbey & Dalton Trumbo and stars Kirk Douglas, Gina Rowlands, Michael Kane, Walter Matthau, Carroll O’Connor and George Kennedy. “Jack Burns” is a man with a horse (“pretty little fuzz tail”), an anachronism who won’t change to suit the time. He’s two friends in a jailed brother whose wife can’t understand either. Monte Walsh had he lived to see Mantle & Maris. Part of the realism wave, it’s tension-filled and a tear-jerker. The good guys are real good, including Sheriff Matthau, the bad oh so bad, i.e., George (deputy) and one-armed force of fierceness, Bill Raisch of TV The Fugitive fame who, had he met up with Tracy’s tenacious character in Bad Day at Black Rock, the outcome would’ve been anybody‘s guess. Ouch!

Shane (1953 – Paramount)

......Ladd-Arthur.wc.Shane.Paramount.1953.39k(SB7)Directed by George Stevens, written by A.B. Guthrie, Jack Sher & Jack Schaefer and stars Alan Ladd, Van Heflin, Jean Arthur in her finale, Ben Johnson, Jack Palance, Elisha Cook and Emile Meyer as “Ryker” the cattle king who’s a story to tell. Masterfully works a dichotomy of duel between good & greed (not evil), cowardice & courage. Panoramic back-drop highlights young Brandon de Wilde’s call to stranger turned family friend “Shane.” Heartfelt and haunting, Ladd’s film noir pedigree is well-suited to this genre crossover (See; Ending).

Red River (1948 – United Artists)

Directed by Howard Hawks, written by Borden Chase, Charles Schnee and stars John Wayne, Monty Clift, Walter Brennan, Noah Berry, Harry Carey (& Jr), John Ireland, STB wife, Joanne Dru, Paul Fix and cattle crew that put on one hellacious stampede. Better is pretty Coleen Gray’s early passion plea to corral the Duke: “Sun only shines half the day, Tom, the other half is night.” Zowie! Often talked about as Clift’s 1st flick (released after The Search), this Western’s most notable for its strong cast, memorable music (D.Tiomkin) and survey of cowboy life in the heyday (1820s – 90s), here, figuring on the famous Chisholm Trail that drove doggies north to Kansas cars, then to Chicago stockyards.

The Big Country (1958 – UA)

Directed by William Wyler, written by Rob Wilder and stars Gregory Peck, Jean Simmons, Carroll Baker, Charlton Heston, Chuck Connors, Burl Ives & Charles Bickford. Full flavor flick: Opening tune (J.Moross) will set your spurs a spinnin’ to a feature with strong-willed men, equally determined women, a moonlight fist-fight, good natured hazing, clever horse (“Old Thunder”) and insightful ranch-hand in veteran actor A.Bedoya (“A man like him (Peck) is very rare”) making his finale (d.1957)). Grudge and non-conformity are over-riding themes but water rights and intoxicating nature of the West are under-currents.

Dances With Wolves (1990 – Orion)

......Dances.wc.Juhijbljb.324k(SB8)Directed by Kevin Costner, written by Michael Blake and starring Costner, Mary McDonnell, Rodney Grant, Graham Greene, Wes Studi, Bob Pastorelli & Maury Chaykin in two brief but strong supportives. Next to Kev & Stone’s follow-up flick in JFK (91), Dances remains the great movie of our time, smoothly blending realism, romanticism and humor to depict culture clash that defines the inevitable human expansion into the Western Hemisphere. The Sioux bison hunt, the following feast & trade (Dunbar hat), another smart horse (“Cisco”), playful wolf (“Two Socks”), Pawnee angst (“He’s gonna’ get us killed”) all make indelible marks. The opening Civil War scene is as poignant as it is exhilarating while the river raid and goodbye at closing (“You are my friend”) tie this epic masterpiece up nicely.

The Last Picture Show (1971 – Columbia)

Directed by Peter Bogdanovich, written by Larry McMurtry & Peter and starring Tim Bottoms, Jeff Bridges, Ben Johnson, Cloris Leachman, Cybill Sheperd, Clu Gulager & Ellen Burstyn. Peter knew what Billy knew and convinced Monroe of (Some Like It Hot), that some scripts must be shot in black & white for full desired effect. The effect was an armload of Academy nods, receipts and critical acclaim for both. Tale of a year in the lives of a small, fading Texas town centering on two school seniors and the knowing adults who shape their lives. Think of a dustier, relaxed, more interesting version of Peyton Place.

Lonesome Dove (1989 – CBS – Motown – Pangaea – Qintex)

Directed by Simon Wincer, written by Larry McMurtry & Bill Wittliff, stars Bob Duvall, Tommy Lee Jones, Ricky Schroder, Danny Glover, Diane Lane, Angelica Huston, Bob Urich, Frederic Forest, D.B. Sweeney, Barry Corbin, Glenne Headly & Steve Buscemi. Four-episode TV mini-series recounting the tale of a troop of ex-Texas Rangers who embark on an ambitious cattle drive to Montana, battling assortment of foes on the way, notably an Indian bandit “Blue Duck.” Wildly popular and, excepting the awkward “Clara” sidetrack (Neb.), the story and characters are so engaging you’ll probably last the entire 6 hour trek.

The Good, the Bad and the Ugly (1966 – PEA – UA)

......Eastwood.wc.S.Leone.1965.428k.AFDM(SB9)Directed by Sergio Leone, written by Agenore Incrocci, Furio Scarpelli, Luciano Vincenzoni, SL, Sergio Donati & Mickey Knox, stars Clint Eastwood, Lee Van Cleef & Eli Wallach. Third in Clint spaghetti trilogy (A Fistful of Dollars / A Few Dollars More), GBU had biggest budget and it paid off as best of the bunch. Trouble today is too much epic with DVD add-ins of three needless scenes (“Tuco” cave / “Angel Eyes” CSA camp / lead to monastery). Lesson: Editor cuts (theater) are to be respected (choisis). Best Civil War treatment ever done, and by an Italian, The Good is that rarity where the finale of a series is the tops, typically it’s reversed (Terminator 3, Aliens 3). Emerging Tuco – Blondie alliance pleases while the music (E.Morricone) camps on the lips for days.

Monte Walsh (1970 – National General)

Directed by William Fraker, written by David Zelag Goodman & Lukas Heller, stars Lee Marvin, Jeanne Moreau, Jack Palance, Jim Davis and Mitch Ryan. Like Lonely, this one flies under the radar. Not to be confused with fine TV remake (T.Selleck ‘03) that lacks depth of the original. The vehicle is a late 19th c. liquidation of the ranching business, demise of the cowboy life and the harm absentee ownership and “capital” consolidation can wreck on workers. Lee tries to hang on without “spitting on his life,” Jack makes adjustments and Jeanne concessions. The humor’s subtle but warm, the love stories moving and the message on change is potent. Marvin’s best movie.

True Grit (1969 – Paramount)

Directed by Henry Hathaway, written by Charles Portis & Marguerite Roberts and stars John Wayne, Glen Campbell, Kim Darby, Jeff Corey & Robert Duvall. Again, not to be confused with the remake (2010 (Aughta’ be a law)). Quirky dialogue delivery takes getting used to but like GBU dubbing becomes endearing. Also like GBU, friendships forged in the long journey satisfy. Stagecoach was good, The Searchers and Liberty Valance toppers but Grit is Duke’s best, where his full acting range flows free like a wise old owl on the prowl.

Winchester ‘73 (1950 – Universal International)

......Winchester73.wc.1950.52k.Winters(SB10)Directed by Anthony Mann, written by Borden Chase & Rob Richards and stars Mann regular Jimmy Stewart and Steve McNally, Millard Mitchell (“High-Spade”), Dan Duryea, Shelley Winters & Will Geer as “Wyatt Earp.” Classic: Big stars, top support (Jay Flippen, John McIntire, James Best, Steve Brodie, Charles Drake) and future top-bills in Rock Hudson & Tony Curtis. Family feud is focus between “Lin” vs estranged “Dutch Henry” and how the new Winchester repeat rifle, won in contest, then stolen, serves as connector, passing through sets of hands. Hate displayed by brothers is intense (Need more Oscars®). Another nice call on B&W, it’s the ricochet of bullets (Sound: Leslie Carey – Richard De Weese (Western Electric mono)) that authenticates this beauty and leaves its mark on your mind.

Little Big Man (1970 – National General)

Directed by Arthur Penn, written by Tom Berger & Calder Willingham and stars Dustin Hoffman, Chief Dan George, Faye Dunaway, Dick Mulligan, Martin Balsam, Cal Bellini & Carole Androsky. Big budget ($15M), no Oscars® for this tour de force. Dustin’s best. Tootsie was tops but it’s blue-ribbon apples to gold-medal oranges. Support in Faye (“Mrs. Pendrake (“Poor Jack”)), Martin (“Meriwether (“There’s element of risk in every profession”)), Carole (“Men!”), Dan (“Sometimes magic works, sometimes it doesn’t”) and Cal (“Next time I can kill you without becoming an evil person”)” is super. Noted for its comical yet harsh portrayal of Custer, the truth may fall in between Boots and LBM. Age make-up (“Jack”) could not be better today while creator’s refusal to sanctify the Sioux brilliantly brings out the “human“ in the “beings.”

Some of the Rest of the Best of the West

The Searchers (1956 – Ford – WB): Wayne’s doorway exit at end onto the panoramic plain is the greatest visual close in American moviedom, just edging out Pierce’s ‘can’t-get-away-from-that-crazy-brat-finally-behind-bars-fast-enough’ exit from L.A. Gothic City Hall in sun streaks of the Mildred closing.

Jeremiah Johnson (1972 – S. Pollack – WB): Sound of prying that Hawken rifle from the frozen, dead grasp of “Hatchet Jack” was special, as too was the “Swan (D.Bolton)” unveiling (“Dear Lord!”).

.....Grapes.Fonda.1940.Zanuck.wc.thm(WP.USA11)The Grapes of Wrath (1940 – John Ford – 20C-Fox): Evolution of the genre. Now the Westerner (“Tom”) has a family, forgoes the pistol, drives an old truck, picks fruit and still will never abide a bully.

Rio Bravo (1959 – Hawks – Warner Bros.): Story’s a bit thin but sure beat’s El Dorado (Caan: “Mississippi”). What was Bing Russell thinking anyway, hassling Claude Akins? But its likeability n’ lyrics (“♫ My Rifle, My Pony and Me ♫”) will hit your high notes and bring you back for more.

Blood on the Moon (1948 – Robert Wise – RKO Radio): No “Joey” nor off-limits married woman (“Marian”), but before Ladd cleared the Wyoming “valley” of guns, Bob Mitchum did the same in AZ. Cinematography by Nick Musuraca.

Hud (1963 – Martin Ritt – Paramount): A persona reprised by his Butch Cassidy & Sting partner in “Little Fauss & Big Halsy.” Filmed by J.W. Howe.

.....Misfits.1961.wc.MacfaddenPub.608k(SB12)The Misfits (1961 – John Huston – UA): Clark Gable is 100% cowboy in this tense, tearful drama marking his and co-star Marilyn Monroe‘s final films and arguably best showings on screen. Monty makes the grade as well, matching his Red River role in quality if not character traits. Marilyn gives her best line: “If I could be anyone, a child who could be brave from the beginning.” Amen.

High Noon (1952 – Fred Zinnemann – UA): Too tall to remake.

The Treasure of the Sierra Madre (1948 – Huston – WB): Down Mexico way. Tenacious ticket hawk little Robert “Bobby” Blake nearly steals the picture when early on he takes a bath in failing to heed Bogart’s warning (“I’ll throw this glass of water”) to the irritant, but hangs tough and melts “Dobbsie’s” heart.

The Man Who Shot Liberty Valance (1962 – Ford – Paramount)

The Outlaw (1943 – Hawks – UA): Russell, who’d become a fine actress, was ill-suited and subject of an absurd ad-campaign at benefactor Hughes behest, but Tom, Walter and under-rated lead Jack Buetel were terrific, the later looking the quintessential Kid, skillfully selling a clever persona central to Billy legend.

.....Walsh.1.1.18.wc.thm(WP.USA13)The Big Trail (1930 – Raoul Walsh – Fox): Over-looked, under-loved but billed as “most important picture ever produced“ and that wasn’t far off.

City Slickers (1991 – Ron Underwood – Columbia): Comedy-drama, “Norman” scenes choke me up. But like Vince said, “If you’re gonna’ get in this business (NFL) you better bring your emotions.” Veteran cowboy (WW2) Jack Palance hoists an Oscar® and delivers best line: “I crap bigger’n you (BC).” The #2: “Colorado, it’s always the last place you look.” Not for Lombardis, it ain’t.

Author’s Addendum: This “Western” perspective is of course relative to my own land (USA) with exceptions in The Treasure, set in Mexico, and Italian-made TGBU.  Another, more informed version could go global to include greats like Seven Samurai (54) set in 1500s Japan but with a Western flavor in themes of tumult, weapon-play and community, where the relevant region in need of justice (or ♫ song ♫) might instead be known as Eastern, North or South.

....brass.thumbtack.J.Dalton.wc.thm(WP.SB.USA14)Steven Keys
Brass Tacks
Photo credit: L.VanCleef, wc.cca, PEC-UA; G.Cooper, wc, 1952-HighNoon, UA; D.Blocker, Bonanza, NBC, wc, 1960; Dallas-Cowboys-helmet, wc, DukeHa, 5.16.8; Clu Gulager-M.Hill, wc, TheTallMan, 1960-62; R.Duvall, wc, S.Quigley, AFPS-WRAMC, 9.25.7; Ladd-Arthur, Shane, Paramount, 1953, wc; K.Costner, DWW, wc, Juhijbljb; Clint-Eastwood, wc, 1965, S.Leone, AFDM; Winters-Stewart, Winchester73, 1950, wc; Henry.Fonda, The Grapes, wc, Zanuck, 1940; Monroe-Gable, TheMisfits, 1961, MacFaddenPub, wc; R.Walsh, wc, 1.1.18; brass.thumbtack, J.Dalton, wc.
Posted: 8.15.16 @ 6:15pm, edit 8.22, 6.28.17; Copyright © 2016
Asterisk (*): Random order
Sources of reference: Wikipedia and IMDb