Dos caras de una misma moneda. Uno viene de lo salvaje hacia la civilización; la otra, desde la civilización hacia la barbarie. Se realiza un cambio de identidad. El guerrero queda impresionado con la civilización romana, y siente que pertenece a aquella. La abuela de Borges quiere rescatar a la india, pero ella la rechaza. Se espanta, no puede creerlo; pero cuando su marido muere, ella se siente identificada. Cuando la india toma la sangre caliente del caballo que acababa de degollar, es cuando termina de demostrar que nunca dejará de ser india, más allá de su lugar de nacimiento. Continue reading
In this sequel to MY FRIEND FLICKA and THUNDERHEAD, young Ken McLaughlin buys a trotting horse named Crown Jewel, intending to train and race her. However, Thunderhead, the stallion he released to the wild, returns and steals Jewel to add to his herd. Ken gets Jewel back and also succeeds in bringing Thunderhead home before competing in a trotting race. His chief opponent is Beaver Greenway, a washed-up former champion driver whose granddaughter Ken is in love with. Continue reading
The railway company has to have its railroad reach the town of Tomahawk, Colorado, before a deadline in order to receive subsidies and gain the advantage over the local stage coach company. On board the first train along the new line are a variety of colourful characters, including travelling salesman Johnny Behind-The-Deuces (Dailey) and Kit Dodge Jr (Baxter), the daughter of the wounded town marshal. She has been deputized and is being chaperoned by Pawnee (Yowlachie). Madame Adelaide’s showgirls (including Marilyn Monroe as Clara) ride along en route to Tomahawk. Continue reading
Plot Synopsis by Hal Erickson
Reminiscent of Destry Rides Again, this feature is about peaceable young lawyer Tom Brewster (Will Rogers Jr.), who sets up shop in a rowdy western town. Though perfectly able to wield a six-gun, Brewster refuses to use brawn when brain will do. He is galvanized into action when his old pal Wallace Ford is murdered by the villains. Brewster cleans up the town and wins the heroine (Nancy Olsen) in the bargain. One of two Will Rogers Jr. vehicles produced at Warner Bros. (the other was the life story of Rogers’ famous father), The Boy From Oklahoma served as the basis for Warners’ later TV series, Sugarfoot. Watch for a supporting appearance by a young and callow Merv Griffin! Continue reading
A rich, dying Easterner hires gunfighterBrad Ellison to find his brother and heir in Mexico.
En route, it becomes clear to Ellison that his is a dying profession. At a remote rancho, Ellison enlists ranch foreman Miles Lang to help him search the hills where the missing man is rumored to have lived. They find nothing …except that someone wants to kill them
and Ellison becomes wrapped in a maze of double crosses.
The law is the law. No exceptions. So Sheriff Sam Barrett saddles up a deputized posse and rides in pursuit of an accused outlaw: his son Logan. Meanwhile, Logan is on the run, living by his wits and attempting to clear his name of murder. Justice rides hard in Return of the Frontiersman, a shoot-’em-up filled with horseback chases, raging gun battles and men who know how to take – and deliver – a swift sock to the jaw. Gordon MacRae plays Logan, heading a cast that includes Rory Calhoun and Julie London. MacRae adds a couple tunes for good measure. And when he offers London a buggy ride at picture’s end, it’s hard not to recall the “surrey with a fringe on top” that awaited MacRae in the smash musical Oklahoma! From Warner Brothers! Continue reading
This is the uncut 110 minute version.
Imagine John Ford (The Searchers), Jean-Luc Godard (Weekend), and John Waters (Pink Flamingos) collaborating on an insane 1950s melodrama, drenched in succulent Technicolor–rose-petal reds, turquoise blues, saffron yellows, and Pepto-Bismol pinks–and you’re just barely encompassing the cinematic delirium of Tears of the Black Tiger. This fever dream of a movie features rival gunslingers, a poor farmboy and the daughter of a wealthy landowner, a murdered father, bloody revenge, a forced marriage, and a half-dozen other cliches stitched into a preposterous yet weirdly engaging story. But the story isn’t the point; director Wisit Sasanatieng takes every opportunity to dive into a different style or device, ranging from delicate shots of a lovely girl in a mint-green gazebo to spewing gore and full-on battle with machine guns and grenade-launchers. The sets are often blatantly theatrical, the lighting exaggerated, and the acting ranges from wooden to maniacal. In short, this Thai movie is like nothing you’ve ever seen, born of a deep moviemania and unbridled chutzpah, and you owe it to yourself to watch it. Continue reading