By David Meuel
Starting within the mid-1940s, the awful, brooding temper of movie noir started seeping into that almost all positive of movie genres, the western. tale strains took on a darker tone and western motion pictures followed vintage noir components of ethical ambiguity, complicated anti-heroes and specific violence. The noir western helped set the normal for the darker technology fiction, motion and superhero movies of this day, in addition to for acclaimed television sequence similar to HBO's Deadwood and AMC's Breaking undesirable. This e-book covers the stylistic shift in westerns in mid-20th century Hollywood, delivering shut readings of the 1st noir westerns, in addition to revealing pics of the eccentric and gifted administrators who introduced the movies to existence.
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Additional info for The Noir Western: Darkness on the Range 1943-1962
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It’s a shame, though, that the auteurists have treated so much of the work of these and other directors so dismissively. Whatever the reason (or reasons), it’s also a shame that Walsh remains one of classic Hollywood’s best-kept secrets. Yet, despite his low profile today, the growing interest both in noir crime dramas and the darker post-war westerns is leading more people to learn about the “underrated” master who excelled in these genres, particularly during the 1940s. With their stark, gritty takes on the world, these films are a far cry from the genteel Victorian sensibility of Walsh’s mentor, D.
Never have I seen such beauty, a naked kind of beauty,” Wellman said years later as he recalled viewing the rushes for the first time. “Bill [Clothier] and I saw the first print back from the lab. ”11 Unfortunately for Jack Warner—whose studio was paying the bills— 1. The Darkening West 37 these rushes provoked a decidedly different emotion. ” 12 k “American cinema has always been full of oddballs charging into environs no one else anywhere on the planet would go near,” Josh Anderson noted in his article about Wellman’s later westerns.
Finally, a subject Wellman explored repeatedly during his career is justice and judgment. What responsibility, if any, do we as individuals or as a society have in addressing economic and social injustices? We see this idea explored in films such as Beggars of Life (1928), Heroes for Sale (1932), and Wild Boys of the Road (1933). And who decides what’s just and what’s unjust, and ultimately who is entitled to pass judgment on people accused of crimes or socially unacceptable behavior? Wellman films that make these issues the essence of the action range from Frisco Jenny to Midnight Mary (1933) to Ox-Bow, to Yellow Sky (1948).