Whity is the mulatto butler of the dysfunctional Nicholson family in the south-west U.S. in 1878. The father, Ben Nicholson, has an attractive young wife, Katherine, and two sons by a ... See full summary »
Rainer Werner Fassbinder
Hud Bannon is a ruthless young man who tarnishes everything and everyone he touches. Hud represents the perfect embodiment of alienated youth, out for kicks with no regard for the ... See full summary »
Innocent and naive Letty Mason moves from her Virginia home to Sweet Water on the western prairies to live on the ranch of her cousin Beverly, his wife Cora and their three children. Letty quickly learns how inhospitable the environment in Sweet Water is, the most obvious item being the incessant wind. But equally inhospitable are the unrefined way the people in Sweet Water live to which she is unaccustomed, and Cora, who believes Letty has come to steal Beverly away from her. As such, Cora orders Letty out of her and Bev's house. With no money, Letty is forced to accept one of the marriage proposal she receives, the lesser evil being that from Bev and Cora's ranching neighbor, Lige Hightower, a man who she does not love. Despite a less than harmonious start, Letty, in part due to her isolation as she is more often than not forced to stay inside due to the wind, begins to have affection for Lige, who wants to do right by her, and who promises to send her back to Virginia when he is ... Written by
The film's artificially happy ending was insisted upon by the studio after test audiences balked at the original ending, where the insane Letty wanders into the desert, certain to die. This more appropriate ending reportedly still exists in Europe. See more »
This is quite simply one of the handful of greatest achievements in the history of visual storytelling. There are images as fresh, as inventive as any you will ever see. You may find some of Gish's emoting a little over the top, but immediately there follow moments when she is as subtle and complex as anyone who came after her. She did, after all, invent screen acting as we now know it. One may wish for the original ending Gish and Sjostrom wanted; but the final images as re-shot were still created by artists at the height of their respective powers, and are memorable in their own right. The desert wind lives and howls in this film, as it has done only rarely in films by John Ford and David Lean. Anyone who doubts that cinema is art has never seen The Wind.
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