An intimate story of the enduring bond of friendship between two hard-living men, set against a sweeping backdrop: the American West, post-World War II, in its twilight. Pete and Big Boy ... See full summary »
This is the story of a young Irish woman who comes to Spain to escape from the pressures she feels about her impending marriage to a political activist in Ireland. But in Spain in the 1930'... See full summary »
Madrid, 1974. Former women's jail of Yeserias. Lucia, a girl well situated in society, is condemned to spend ten years in jail due to her relation with a politic militant against Franco's ... See full summary »
Pablo hates everything. When Lucia comes into his life, he thinks she's the woman he dreams of, and sees the solution to all his problems. But Lucia, who is rather manipulating, is just ... See full summary »
Pablo knows already, in his twenties, what he wants from life: to become a musician, be likeable to his mother, and find a lovely, faithful and nice boy to share the rest of his life with. ... See full summary »
Enza, 16, a drop out, is arrested with her older sister, Rosaria, for shoplifting. They're sent to a reformatory run by hard-nosed nuns. The girls tease Enza because she's a virgin. So, on ... See full summary »
Three women from three different generations and walks of life find themselves in a very hot, semi-deserted Spanish town. Patricia is a 17 year old roaming Spain in search for a certain man... See full summary »
Álvaro Fernández Armero
An intimate story of the enduring bond of friendship between two hard-living men, set against a sweeping backdrop: the American West, post-World War II, in its twilight. Pete and Big Boy are masters of the prairie, but ultimately face trickier terrain: the human heart. Written by
Director Sam Peckinpah tried to get this movie produced for years, but unfortunately he died before he had the chance. See more »
A Coke vending machine is clearly labeled ten cents. In this part of the country in the late 1940s it would have been five cents. Around 1960 vending machines went to six cents, quite a novelty at the time, requiring two coins to get a Coke. It was later in the 1960s when vending machines finally went to ten cents. See more »
People walked out of this film, presumably in disgust, perhaps because they were too hip for woody harrelson. I'm glad this film pissed people off - it proves it was stupidly honest, stupidly nostalgic, stupidly big-hearted and not cynical, clever, PC nor anti-PC, not a mockery of anything. It's an American film by a British director, and like Lolita, boils thick Americanisms down to crystals of statement, taste, elan. How could anyone walk out on the fat man yodelling as the camera dollied in to that tight close-up?! It was a gem of a shot, a little gauche perhaps, not unlike the marlboro country the film rolls through, and the naked desire for the days when men were MEN - with winning hands, whiskey shooters and a tasty redhead named Mona... But this isn't leering masculinity bristling with three day growth! There is a notable absense of guns (for a western), and when they appear they are not sharp and shiny but heavy, tarnished and chunky. This is MC Solaar's nouveau western - cutting up slow shy grins, dusty scuffles, mewling coyotes and a lugubrious soundtrack heavy with sentimental strings, trumpets and the convenient pause for punctuation. This is true Hollywood, and I mean that as a compliment. It was one of those rare occasions where suddenly you see the film as more style than substance. That's why it was showing in Darlinghurst and not the multiplexes! Because of Woody Harrelson
so stupidly generous, stupidly the big man with his big scruples and big
square jaw - it is a film that could so easily slip by, scoffed at, discounted for wearing its heart upon its sleeve, pinned not far below the stars and stripes and the silver star for service to country, mateship as tight as knuckles, horses with bottom and all that glory.
It's a movie for Kerouac, he loved this kind of carousing and childishness. Here, life is Hi and the cattle lo, plain Lo, yet another adopted child of Scorsese and his deep deep pockets. "From the depths of my reputation I bring you..." How dare he! Kidnapping the history of American film, like he was god's gift to world cinema, doing it all as a public service. But its worth it for Billy Crudup with his old man's shoulders, Billy with his switchblade, Steve with his necktie, straight six and coronary, LB and Bigboy - it all comes down to Bigboy - the backbone of the film, the gut-feeling and laboured gasp of this weighty piece of cinema.
It's old-school treatment, all sinew and gristle, bloody hooves; pretty dresses, buddy bottles and mexican girls who visit fortune-telling witches. It's a film which doesn't teach America's children to express their anger with words not weapons. No, like Apache tank-killers and cruise missles flattening Serbian houses, it tells Americans to go hard or go home - take it square on the chin, tear those clothes off and take whatever gratification you can get whilst still being the best man, the best friend, a good man with a natural feel for horses. It's homestyle American apple pie, all fragrance and warm pressure, like a horse nibbling oats out of the palm of your hand. So rope em and rape em cause nothing's keeping a good man down cept for a bullet in the chest or a pair of wide open thighs... And while I bluster, it's all poetry in the Hi-lo country, with its bloated cattle and californian dreams, snow on the ranges and the good ol' boys, we're just telling it like it is...
Further notes. The preview contains many scenes that are not in the film : wartime footage, bigboy coming back for pete in the blizzard. In fact the preview contains all the elements superfluous to the film. It is not the story of a woman coming between two friends, it's a story about a way of life coming to an end, a coming of age, and the quality of relationships.
And returning to the generic music score I criticised earlier, from the preview I have identified (some of) it as sounding very similar to the opening to Fargo! What is this piece of music?
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