True Grit

The Coens are doing it again. Such an excellent teaser to what is sure to be a film that could bring back the Western. I'm certainly all for that. The fact that this is a new adaptation of the Charles Portis novel certainly has not prevented the Coens from reminding us of the iconic imagery from the John Wayne film (above photograph). View the effective teaser at Apple here.

The Warrior's Way

Here's one of those interesting projects that seems to be flying under the radar, despite what appears to be solid potential behind the scenes. Once called Laundry Warrior, the film now known as The Warrior's Way is an ambitious melding of East and West, literally. The film revolves around "a swordsman from the Far East who flees from his past to the American badlands where he meets the town drunkard, and a circus knife thrower both of whom harbor powerful secrets" that may throw the town into chaos...
It's a simple enough premise, one that lends itself to high concept genre imaginings. However, a premise alone is just the first step. Information has been scarce, but the staff list goes something like this: it is written and directed by NYC Film school teacher Sngmoo Lee, who has partnered with Barrie Osborne of Lord of the Rings to produce the film. "Fight choreography is by SHIMOMURA Yuji, a protoge of Donnie Yen, whose credits include VERSUS and ARAGAMI, while stunts will be overseen by Hollywood veteran Augie Davis (The Water Horse)"*. In front of the camera are the likes of Geoffrey Rush as the Drunkard, Kate Bosworth as the Circus Knife Performer, Tony Cox, and JANG Dong-gun (Taegukgi: The Brotherhood of War, The Coast Guard) as the Warrior. With Osborne's involvement, Weta Digital is sure to provide some effects for some of the ambitious set pieces.
And that's where the information stops. A single promotional image (above) floated around the net for a while, but the August 2009 release date set by the film's press release has come and gone sans film. However, back in June of 2009, a promo reel did emerge, most likely out of Cannes, for the film and gives the only glimpse into the film's stylish visuals, setting, and atmosphere.



As one can see, there is some incredible potential in this reel; certainly not something to judge the final film by, but a enticing glimpse into how the estimated $50 million budget is being (or has been) spent. So, what could be the cause of the delay? With a cast and staff that should by all accounts "sell itself" why has the picture not been picked up for distribution? Have there been cost overruns? Production problems? Or is the film just not working as hoped? The lack of information through official channels certainly undermines confidence in the film. Yet, just seeing the footage presented so far is more than enough to strongly hope that this Wuxia-Western will ultimately see the light of day.

(*source: Kung Fu Cinema)

The Good, The Bad, and The Weird

I realize I wrote three posts in a row with single word titles, so I'm making up for it now with probably one of the longest titles posted yet. Anyway, let's get the obvious out of the way...yes, it's a remake of the The Good, The Bad, and The Ugly. The plot still revolves around three central characters all searching for the same thing. Each of the three are archetypes playing off one another. And yes, it's still a "western." The setting is in the deserts of China and if you think this can't possibly work, check out the trailer:


(source: Hancinema)

Only through the familiar set up of this reinterpretation does this film resemble its inspirational source. In fact, if the title wasn't what it is, you might not realize it immediately. As you watch it, however, it will dawn on you that there's something comfortable about the story, but it has so much that is different stylistically, and that is what true "remakes" should be about. As The Magnificent Seven suffused Kurosawa's The Seven Samurai with the unique setting and grand heroics of the American frontier, I think The Good, The Bad, and The Weird infuses something uniquely Asian, and more importantly, uniquely Korean into Leone's masterpiece. Backed with the appropriate budget, a director who understands both the stylization and reinterpretation required, and 3 of Korea's top actors to give the characters life, the film looks to have the grand set pieces, a wry humor, and production design to successfully distinguish itself.

Hollywood has been doing a lot of remakes based on Asian properties, and I think it's about time that Asia begin returning the "favor." I think Asia has a special eye for storytelling and deep rooted sense of "myth" which could show that a poorly developed property in Hollywood, might have had much more potential if it had been put into the right hands. If anything, a fresh reinterpretation of an American (North, Central, or South) or European film could be a good exercise for Asian directors in telling stories that aren't within their comfort zone, and that can only lead to better filmmakers.

3:10 to Yuma

The Western, a much beloved film genre, may have seen a decline in proliferation as the decades passed, but certainly not in quality. There is a strange phenomena that affects certain things that we love that were once plenty but now rare. If one is going to tackle some thing that is so loved by others (and presumably oneself), damned if you're not going to do it right. Thankfully with the western this often holds true to a splendid degree.

Beautifully shot against the desert landscapes os Arizona, 3:10 to Yuma frames a gritty story of one man's search for respect against the rocks, plains, and hills it is all too easy to forget still exist. The story is laid out simply as notorious outlaw Ben Waid (Russell Crowe) is captured and subsequently chaperoned to a prison-bound train by a posse barely up to the task. That posse includes hard-luck case Dan Evans (Christian Bale), who attempts the task not only out of a sense of justice and demand for the monetary reward that comes with it, but in an effort to prove worth to his family who he's let down an unfortunate number of times. While his family's circumstances are not entirely of Dan's own making, the desire to prove himself to his wife and more notably his sons sets him on the path to which he refuses to falter.

The film re-enforces the harsh and difficult life the "old west" was to those who had to live through it, but does so in the exposition of everyday happenings. The arrival of Ben Waid's gang of robbers and thieves into town brings fear and violence, and it's no wonder so many would rather lock themselves in than deal with any antagonism. Arrogance leads to Waid's capture and transport, but only after a fair bout of crime and terrorism have left those who would see him put away with little other choice. The journey to the train station under tight deadline-- all the while trailed by Waids' vicious gang-- allows Waid to unwrap the motives and weaknesses of his captors, where he hits wall after wall with the stubborn Dan Evans.



3:10 to Yuma has a lot of great things we love to see in westerns. Sprawling vistas, gunfights, frantic horse rides, strong supporting cast, and cool cameos. But it also offers lead acting at its best. Crowe falls into the role of the charismatic villain with ease, yet avoids the cliches so often associated with such characters. There is no over the top bravado or excessive cruelty just to tell the audience "I'm the bad guy." In fact when Waid does resort to violence it is seen as his last choice and is ten times more chilling because of it. Crowe plays Waid as an intelligent, if devious, criminal; someone who may or may not have set out for a life of an outlaw, but found one just the same and will not relinquish that which he's already gained. His foil throughout the adventure brought to life by Bale, who presents an amazingly grounded character at the threshold of events that will define his life. Bale is truly the rock of the movie, each scene as Dan Evans peeling back the onion skin of a hard luck case that seems to never catch a break. By the climax of the movie, where everyone else has quit by Evans vows to get Waid to that train, Waid himself can't ignore the lengths one man has gone through for deserved respect. It is impossible not t root for Evans and want him to succeed. Bale turns in great performances as standard, but here may be one of his best.

Modern westerns may come few and far between, 3:10 to Yuma delivers so much of what we love it more than makes up for the wait.