Long Riders, Brotherly Love

 DATELINE: Brothers Carradine, et al.

Carradines

If you want a seminal rehash of all the big-time bank and train robbers of the West, you could not find a more succinct and intriguing film than The Long Riders.

Written partly by the Keach brothers, Stacey and James, it has as its basic catch-all hook the fact that sets of brothers play sets of brothers:  Jesse and Frank, the Younger Boys, the Millers, and those pesky Fords.

It would seem the director Walter Hill wanted to showcase brotherly relations by finding siblings to play off each other. The family ties also go against each other, as if we are watching some movie history of famous family actors in heat.

The film came out in 1980 and has all the hallmarks of the Peckinpah violence of the era. These outlaws take a dose of slow-motion death throes from The Wild Bunch, etc.

If you want bravura acting, here it is. Without a doubt, the rivalry between brothers is almost as tasty as that between sets of brothers. As you might expect, the gang life of the young criminals and gunslingers is not idyllic, except in dime novels.

The script is episodic: seemingly finding moments, like family gatherings, dances, bordello bonding, and funerals, as the means to lead up to the disaster at Northfield, Minnesota, when they went off reservation and out of their metier.

It’s hard not to cite David Carradine and Keith as scene stealers, though the Keaches write themselves some good lines too. The Quaid boys, Randy and Dennis, seem extremely young, but it was forty years ago.

Macho preening and male bonding have not changed much since 1880 or 1980, and this film is a document to show that fact.

 

 

 

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Jodorowsky’s Dune Beats Lynch’s Dune

DATELINE: MOVIE MASHUP

 jodorowsky's dune

We can think of a couple of great movies that never made it to post-production: I, Claudius with Charles Laughton as the Roman Emperor, and Dune, the Jodorowsky version. Both were made later in an era better able to handle the themes and technical aspects.

Years before David Lynch made an abysmal version of Frank Herbert’s Dune, Alejandro Jodorowsky—one of the great experimental filmmakers and artists—put together pre-production for an original epic. Now comes the documentary telling how it failed to be filmed in Jodorowsky’s Dune.

Studios wouldn’t accept the director: he was a gaucho warrior from South America—and he’d likely be out of control. His previous two movies were staggering achievements outside the system. 

Now nearly 40 years after his greatest film project was denied him, he and his producer Michel Seydoux put together a documentary to tell the tale.

Jodorowsky’s film and artistic team would have blown away audiences—or chased them away. His ideas then went into dozens of 1980s movies from Alien up to Prometheus, from Flash Gordon to Star Wars. What could not be done with special effects in the 1970s was possible a few years later.

Jodorowsky had seduced great minds to join him in his endeavor. Orson Welles, Salvatore Dali, David Carradine, and Mick Jagger, were the cast.

Like a cult leader, Jodorowsky could charm everyone—and even as an old man, you can see his energy, his integrity, and his style, in this film about the unmaking of Dune.

What a crime it is for the true visionary to be refused the union card for Hollywood, but the great filmmaker could rise above it—and even took pleasure in the Lynch’s inability to translate Herbert.

Those who love movies and great art on film owe themselves a chance to see this intriguing story of what might have been.