Revisionist Western Night
Koolhoven & Simons: Revisionist Western Night
Breaking a genre’s laws? Clint Eastwood did so in Unforgiven, an example of a Revisionist Western in which good and bad aren’t always so clearly demarcated and simplistic cowboy romanticism is replaced by the gritty reality of the Wild West.
A western with a Native American – a fan of esoteric poet William Blake – as one of its leads? Two bank robbers who take off with the loo, laughing and killing as they go with not a good guy in sight? Think of Dead Man by Jim Jarmusch and George Roy Hill’s Butch Cassidy and the Sundance Kid and, you know: the laws of the Western are there to be broken.
Koolhoven & Simons are your guides to so-called revisionist Westerns: a broad term for films that do justice to the gritty reality of the Wild West. Standard Westerns with their simplistic good guy vs. bad guy or rancher vs. Native Americans scenario was already re-written by the Spaghetti Westerns of the 1960s and 1970s. In Unforgiven, Clint Eastwood takes it to the next level. On classic, analog, 35mm celluloid no less.
Unforgiven (Clint Eastwood, US 1992, 130')
Anti-Western that questions the violent morals of the Wild West. The film garnered four Oscars in 1993 (among other things for Best Director and Beste Male Supporting Role), Clint was nominated for Best Male Lead. The meeting between a former gun for hire who is forced to take on one more job by circumstance and the sadistic sheriff Little Bill (Gene Hackman) is chillingly memorable …
Martin Koolhoven & Ronald Simons
Koolhoven & Simons
Every month, Koolhoven and Simons will be scrutinizing the genre film, presenting films within pretty forthright themes that have never before been screened at Eye. Expect evenings on Trucker, Grindhouse or Revenge of Nature films. A tribute to rarely screened trailers and forgotten classics, where possible in 35mm, using films from Eye’s collection.
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