AVALIAÇÃO DA IMDb
5,8/10
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SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaThe early career of legendary lawman Wild Bill Hickock is telescoped and culminates in his relocation in Deadwood and a reunion with Calamity Jane.The early career of legendary lawman Wild Bill Hickock is telescoped and culminates in his relocation in Deadwood and a reunion with Calamity Jane.The early career of legendary lawman Wild Bill Hickock is telescoped and culminates in his relocation in Deadwood and a reunion with Calamity Jane.
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- CuriosidadesWriter and director Walter Hill said that Jeff Bridges was "an actor I greatly love... a very nice man, decent, hard working, got along well, no problems", but that there "was always a kind of tension between Jeff and myself" because "Jeff does a lot of takes, I don't. My focus is very intense, but when it gets to be you just doing it again and again, I lose it, and I find an awful lot of performers go stale. He would always have an idea he thought he could make something better."
- Erros de gravaçãoIn the big stable shootout, Wild Bill gets off more than 16 shots out of two colts.
- Citações
[Will Plummer sends in a woman to challenge Wild Bill to a gunfight]
James Butler 'Wild Bill' Hickok: What did he say?
Young Woman with Parasol: He said that you were... a horse molester.
James Butler 'Wild Bill' Hickok: Did he say what horse?
- ConexõesFeatured in 100 Years of the Hollywood Western (1994)
- Trilhas sonorasThe Yellow Rose of Texas
Traditional
Avaliação em destaque
Forget facts and enjoy the cinema
Walter Hill has based his screenplay on two literary works by two individuals: Paul Dexter's book and Thomas Babe's play. Hill is a good screenplay-writer himself. I recommend viewers to view the film as an example of a good screenplay and not be unduly worried about facts.
The structure of the narrative is simplified by the sepia and black-and-white flashbacks by the director. Unlike other directors, Hill chooses to uses tilted shots for most of these flashbacks, suggesting a "colored" viewpoint of what is shown.
The film can be dismissed easily as a crass action western--but this film looks at bravura narcissism (opening shots of shooting a glass on top of a dog's head), a man who refuses to be tied down to relationships with women but is friendly with men, stupid reactions to knocking his hat, etc. The heroics may belong to the mustachioed men rather than the clean-shaven but the film has more to offer than hairy faces.
The casting of John Hurt, Bruce Dern and Ellen Barkin is commendable--they provide fascinating screen time that adds to the credibility. Hurt and Barkin who open the film carries the film even though Jeff Bridges proves to be a credible lead player but he is no great thespian.
The film ultimately belongs to Hill and art director Dan Olexiewicz, with the atmosphere changes from bright sun to slushy streets--that strangely keeps pace with the characters. Hill develops the characters slowly through filmed flashback and dream sequences (visit of Wild Bill to the insane asylum, the conversations with Red Indians, are examples) rather than the spoken word of the main character and that contributes to the feeling that most characters are not fleshed out. They are well developed, in an unusual way. This is not great cinema but above average stuff--a good way to describe Hill's body of work.
The structure of the narrative is simplified by the sepia and black-and-white flashbacks by the director. Unlike other directors, Hill chooses to uses tilted shots for most of these flashbacks, suggesting a "colored" viewpoint of what is shown.
The film can be dismissed easily as a crass action western--but this film looks at bravura narcissism (opening shots of shooting a glass on top of a dog's head), a man who refuses to be tied down to relationships with women but is friendly with men, stupid reactions to knocking his hat, etc. The heroics may belong to the mustachioed men rather than the clean-shaven but the film has more to offer than hairy faces.
The casting of John Hurt, Bruce Dern and Ellen Barkin is commendable--they provide fascinating screen time that adds to the credibility. Hurt and Barkin who open the film carries the film even though Jeff Bridges proves to be a credible lead player but he is no great thespian.
The film ultimately belongs to Hill and art director Dan Olexiewicz, with the atmosphere changes from bright sun to slushy streets--that strangely keeps pace with the characters. Hill develops the characters slowly through filmed flashback and dream sequences (visit of Wild Bill to the insane asylum, the conversations with Red Indians, are examples) rather than the spoken word of the main character and that contributes to the feeling that most characters are not fleshed out. They are well developed, in an unusual way. This is not great cinema but above average stuff--a good way to describe Hill's body of work.
útil•103
- JuguAbraham
- 11 de nov. de 2004
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- How long is Wild Bill?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idiomas
- Também conhecido como
- Wild Bill
- Locações de filme
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 30.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 2.193.982
- Fim de semana de estreia nos EUA e Canadá
- US$ 987.515
- 3 de dez. de 1995
- Faturamento bruto mundial
- US$ 2.193.982
- Tempo de duração1 hora 38 minutos
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1
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By what name was Wild Bill - Uma Lenda no Oeste (1995) officially released in India in English?
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