While I appreciated attempting to match Leone's intent, I felt the yellow push was too severe as it would make actors look incrementally jaundiced depending on the scene and could push Blues towards Green in some sequences. Gaunt old has been an undertaker all his life; finally they cast him as one. The Sheriff is almost cheerful at the prospect of Books's approaching end. That said, the restored mono audio mix is worth the price of admission alone in my book. Primaries also enjoy a more natural presence.
Even with a great surround system in place, the 2. Review by from a disc kindly supplied by. Books, The Shootist The Shootist is only an average Western but as a film about John Wayne it's a masterpiece. A little patience pays off. Although I'd heard him speaking plenty of broken but coherent English, when I said I loved his Danger: Diabolik, he cooly pretended to not understand and ignored me. Two months to live, six weeks, maybe less. The tinny canned library sound effects are back and unaltered.
And Wayne, as Books, occupies the substantial center of the film. In addition to most if not all of the previous releases bonus features being carried over, Kino Lorber Studio Classics have conjured up some new material for fans to pour through. In 1964, Wayne had survived lung cancer with remarkable success having lost a lung without noticeably slowing his work rate once he was discharged from hospital. Anything would be an improvement over the previous year's embarassing Rooster Cogburn, which had attempted to graft True Grit into The African Queen and did little more than trash Wayne and co-icon Katherine Hepburn. However, it is not Books' fate to die in peace, as he becomes embroiled in one last valiant battle. From Sergio Leone's meticulous framing and story structure to Eastwood's star-defining performance to the film's iconic score from Ennio Morricone, The Good, The Bad, and The Ugly defines the Western genre. Both discs are housed in a standard sturdy two-disc Blu-ray case with reversible artwork.
So The Good, The Bad, and The Ugly has had a bit of a storied history on Blu-ray over the last decade. And the movie's final scene, in which Gillom Rogers symbolically steps into the Shootist's boots, is just a little too neat to be real. No doubt there will be much discussion about this in the forums. You understand early on that Eli Wallach's Tuco is a wily cat with an extended criminal history, I didn't need to see him reforming his gang in order to hunt down Eastwood's Blondie. To put it simply, I'm a massive fan of this film.
Special features are spread out across both discs. The streets are still wide enough to turn a mule train in, but now an abashed little horse trolley runs down the middle of them, and electricity's going to put the horse out of business next year. The music sounds good and the dialogue is clear. Advertisement It's here that the movie doesn't quite work. It traces with precision and subtle poignancy the last days of a gunfighter dying of cancer - a 'shootist' in 19th century parlance - while acting as a commentary on the audience's feelings about the man who was the greatest film star of the past 100 years.
Howard's a far sight better than the 'youthful' losers Wayne used to allow to scar his Duke movies Fabian Forte horny in Nome, a dead racoon wearing Frankie Avalon in The Alamo. We don't know why they'd oblige the Shootist's wish to die in a gunfight. It also relies so heavily on the persona of John Wayne - right down to using clips from his old films at the beginning - that the character of Books doesn't really come alive as an individual within the context of the film. But it looks very grainy throughout and there is quite a bit of artifacting. The is an excellent film. If you want to buy anything reviewed on our site or anything at all! However, I can see some folks out there reluctant to make yet another purchase of this film on Blu-ray - let alone all other previous formats.
He didn't appear the next day and Siegel, having shot around his star as much as possible, was informed that the production was being shut-down and that he was suspended. Granted, the improvements from one release to the next are incremental, I'm glad that the film doesn't rot in a vault and enthusiasts have to settle for what is available. In the meantime he can do what he wants. It's hard to imagine how Duke could have had a better swan song and even harder not to speculate that he knew while making it that it would be his last film. But, no doubt, far from being the final definitive edition. We also have interview shows which feature people from an eclectic mix of the entertainment industries.
However, this film along with The Sons of Katie Elder and the amazing The Searchers proves his acting chops. Overview - By far the most ambitious, unflinchingly graphic and stylistically influential western ever mounted, The Good The Bad And The Ugly is an engrossing action shot through with a volatile mix of myth and realism. He certainly made me cry. We understand his reasoning, but not theirs. Even his time as the favoured hate figure of the liberal Left - stretching roughly from his support of Barry Goldwater in 1964 to the end of the Vietnam War - didn't seriously affect his box office record.
As much a meditation on the burden of celebrity as an elegy for the Old West, it's most revealing in its star's final renunciation of violence. But all these gunfighters had the same problem: People weren't content to let them die in bed, because they made too good a trophy. Both discs load directly to static-image main menus with traditional navigation options while the film's famous score plays in the background. There are 16 chapter stops. Don Siegel's direction is typically surefooted but lacks tension and is certainly not on a par with Peckinpah or Ford. Compare the way he looks in two Andrew V.
However, Savant can't think of any great alternatives and should be grateful that Weepy Walton Richard Thomas didn't get the part. I love Ennio Morricone's hypnotic score - I used to listen to this soundtrack every night before falling asleep as a kid. Each of them is a career criminal and a murderer only with varying degrees of honor and respect. Three commentaries amount to a lot of listening for sure, a daunting task for some, but worth it if you're an enthusiast of the film. The previous 2014 The Man With No Name Trilogy release did include the mono track, but it was a very dated and weak-sounding Dolby Digital 1. The verminous Bill McKinney the Hillbilly rapist from Deliverance pays for his sins here alongside Richard Boone's more traditional villain. Although neither John Wayne nor Don Siegel would thank me for saying this, The Shootist works beautifully as a self-reflexive comment on John Wayne.