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Samuel Fuller's Forty Guns serves as a remarkable film that fuses the Western with film noir and provides ample space, at least during its first half, for Barbara Stanwyck to provide a commanding performance that hints at what a Western female heroine might look like.
Not their first foray into bringing the short story form to cinema, the Coen Brothers' The Ballad of Buster Scruggs affirms, sadly, that in this regard, cinema is the lesser storytelling form.
The inability to communicate truthfully and accurately runs like a red thread through the course of Robert M. Young's western, The Ballad of Gregorio Cortez.
In the Coen Brothers' The Ballad of Buster Scruggs, there's something altogether new about having revisionist western ideas filtered through their rich sense of character, black comedy, and their penetrating awareness of humanity's fatal imperfections.
Jacques Audiard's revisionist Western shines thanks to moral quandaries and John C. Reilly's performance.
It's not enough to describe Dead Man as simply an anti-western; it's an iconoclastic deconstruction of late 19th Century American values and mores, many of which remain unabated more than a century later.
Lisa Hanawalt's work is proof that even a genre as seemingly played-out as the western can reveal a rich landscape if the right hands are holding the reins.
Loo Hui Phang emphasizes the nature of image-making from the first panel: an upside landscape as viewed through the inverting lens of the protagonist's camera.