I haven’t seen the westerns Arnold made in the 70s, but I sure wish he had made more of those in the 50s (not sure if he wished the same). Yes, it’s true that this and Red Sundown are not as successful as the next two from this decade, that the terminal No Name on the Bullet enjoys a more openly ‘metaphysical’ discourse than the others, that the latter two films have more commanding stars, that they are in Scope format, and so…

The first signed articles of Narrow Margin 03 are online, both of which will accompany this program.

Of these two, one is the best evaluation of Rita Azevedo Gomes I have read, the most generative response to what was outlined through a more journalistic and polemical approach in the other over two decades ago, and the most concentrated, medium-sensitive reflection I know on the nature of cinematic adaptation. 

There are other good things to be said about the piece. In my case,…

Some of us have already pointed out, rightly, what the films of John Ford must have owed to this. My memory was suggesting to me something else, one film in particular, but it wasn’t until someone else mentioned the name that I could try drawing it out. Here’s a version of what I discussed earlier today:

Incidentally, the last part of the chase in The Thief’s Wife really reminds me of this part in Rancho Notorious where the posse rides…

Pasolini on the film that may as well be subtitled Diagonale #0: 

For a film, I thought you had to see at least fifteen minutes — a quarter of an hour — to understand whether or not you’re in the presence of an author. Whereas tonight, barely seated, seeing the first images — the first three shots were enough for me to grasp this miracle: we are faced with the work of an author, an absolutely exceptional author. As I do…