you make a good point about the spaghetti western moniker. and i agree, now that you mention it. i realize the original intent of the term was meant as a dig by competing american directors, though i think the derogatory connotation fit better during that era when these films were current. for me at least, the term has achieved classic status by now, 50 years later. for me it represents a classic cinema movement. but i am rambling... lol
i agree with you proposition is one of the best westerns ever made. ironically, it's not even about the american west. i don't know which one i'd say is the best ever, but i can say this without equivocation: the proposition is definitely the best western made in the whole world in the last 20-25 years. there were a couple right there at the end of the 80s i liked, but i'd rank them as good but not explosive like this one:
i liked wyatt earp, but i don't say it's exceptional.
a lot of people like tombstone but again, i don't see it as exceptional. a little affected, over the top for me
unforgiven was a shame, a travesty IMO. what a woosy joke that was. yeah right, "let's cry and make a western about NOT being a bad ass killer." and ironically it was THIS western eastwood got big attention for. go figure
lonesome dove was exceptional for me, and i see it as a timeless classic in spite of its production/style and the fact that it was a TV movie. i think the writing took center stage there. well, the writing and duvall. lol
young guns was quite entertaining to me, but i kinda see it as a cartoonish western similar to tombstone. i liked the energy and the character and the use of rock music. "the food's gettin cold, dick!"
pale rider. enough said. IMO this one was clint's last western, and continued in the vein of his earlier ones.
in the same year we had silverado which i liked a lot but was kindof a throwback to a fifties TV style story, clear cut black and white justice, kinda antiseptic but i liked it nonetheless.
i won't go back past 85 here, since all of those speak for themselves.
but again, i agree that the proposition smokes ALL OF THESE i listed here. it really does. the realism is astounding.
i also agree with you about hurt's character, and about the dilema facing guy pearce. i thought pearce nailed it, very charismatic, pulled the viewer in and added much empathy.
(btw, you from oz?)
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Freeze, sucka! Put down the mayonnaise, slowly.
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