Archive for March, 2011

Film7070 Week 7: 2004

2004: Brotherhood

Brotherhood is an epic Korean war movie in the same mould as Saving Private Ryan. Like Spielberg’s film it features some shockingly brutal battle scenes but it also suffers from Ryan‘s biggest failing – an overly sentimental story.

The tale of two brothers who are pressed into the service of the South when it goes to war with North Korea is overly melodramatic. Before the war they’re living a poor but idilic life, one of the brothers is getting an education while the elder helps pay for said education by doing shoe repairs. War shatters their plans but the elder brother makes a deal with his commanding officer – if he gets a medal his younger brother will be allowed to return home. Thus big brother becomes a super soldier, singlehandedly wiping out half the North Korean army. What makes this cloying sentimentality bearable is the realistic battle scenes, there’s a randomness to the battlefield that really puts you in the thick of things.

Sadly the story takes a contrived twist towards the end that sees the two brothers fighting on opposite sides. It’s at this point the film lost me and any interest I had in the resolution of the siblings story evaporated.

Brotherhood is half a great war movie but it falls down with it’s central characters and thus the viewers emotional involvement. It also makes no effort to explore the politics of the conflict – Communists are bad is about as deep as it gets, although in fairness it does show that atrocities were perpetrated on both sides.

Film7070 Week 6: 1961 & 1990

1961: Tierra Brutal aka The Savage Guns

I had high hopes for Tierra Brutal. It’s a film that’s not easy to find, but, being a fan of Richard Basehart since watching him as Admiral Nelson in Voyage to the Bottom of the Sea as a boy, the prospect of seeing him take the lead in what I’d heard described as a proto-spaghetti western (it was filmed in Spain) was hard to resist. So perhaps my expectation were a little high when I finally tracked it down. I was hoping to unearth a hidden gem, what I got was a fairly standard B western that has little of the style of the spaghetti westerns that were to come a few short years later.

Perhaps this lack of continental flavour shouldn’t have come as a surprise, the film was directed by an Englishman, Michael Carreras, a name that’s more familiar to horror fans than western aficionados. Michael was a producer and director with Hammer Films and the son of the studios founder Sir James Carreras. Not the sort of background you’d expect for a western movie director but he does a competent, if decidedly unspectacular, job.

Basehart does well as the gunfighter who’s looking for a place to hang up his guns (yes that old chestnut) but finds it’s never that easy to escape your past. The rest of the cast is made up of minor American actors, attractive Spanish ladies and a presumably hard up Fernando Rey. All of which leads to a frankly rather dull 90 minutes.
Rating: ★★☆☆☆

Film7070 Week 5: 1957

1957: The Tall T

I’ve often heard the classic westerns produced by Director Budd Boetticher and star Randolph Scott spoken of with a reverence reserved for the likes of the Mann/Stewart and Ford/Wayne partnerships but until watching The Tall T my only experience of the pairs output was the superior revenge western 7 Men from Now. It’s fair to say that after watching The Tall T I’m now a fan and you’ll probably see a couple more of their films popping up in Film7070 in the coming weeks.

Several things set the The Tall T apart from the crowd of low budget westerns of the period, for starters there’s the script from Burt Kennedy. The first twenty minutes or so are spent establishing Scott’s character Pat Brennan, and it’s twenty minutes full of information – he’s a rancher, he works alone, he quit his previous job as a foreman on a larger spread to try his luck on his own, he’s unmarried and he’s not adverse to a gamble, the latter fact leaving him afoot when he wagers his horse against a prize bull. The result of all this is that we feel like we know Brennan in a short space of time, and we like him, he’s a happy-go-lucky kind of guy who takes the rough with the smooth and doesn’t bear a grudge, although he’s not one to be laughed at. The beauty of Kennedy’s script is that we get all this information from a few exchanges that never feel anything but natural, there’s no sense of forced exposition. This deftness of touch is apparent throughout the film as we are introduced to other characters.