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Feb 11, Pursued launched a new wave of dark, psychologically fraught westerns that have been variously referred to as “noir westerns” or “western. Apr 23, At first glance the Western would seem antithetical to noir. (A fetishist for strict definitions would probably insist that noir be defined essentially.
Let me in Lost password. RSS Feed:. Atom feed:. The stunning 4-minute film was shot over two days in California, and moves between monochrome and colour, featuring cinematic imagery of the Californian desert and a nightclub interior, which is infused with a futuristic Wild West vibe.
The nightclub interior was filmed at a top-secret location in the heart of Hollywood. Ronson cruises down the wide-open roads of the Mojave Desert in an open top Cadillac, in pursuit of Cabello, while three femme fatale bounty hunters join the search. The video reimagines familiar cinematic narratives and genres with contemporary characters, progressive styling and performance from one of the worlds biggest pop stars.
They are a creative duo based between London and Los Angeles, who blend youth and popular culture with concept-driven storytelling. Their visually rich body of work spans film and creative direction.
Recommended by. Please select a collection to add. A neo-noir, a cop movie, a Western, a fable—in all, there is the mythic image of a hero who walks down the center line of main street to confront and embrace his best destiny, and when Freddy does the same, the straight reality of Cop Land fogs into something grander, more elemental, and the world around him heightens into that of the pure Western. Like Van Helfin in to Yuma , Freddy then waits at the station for the to New York, loading his shotgun, eyeing the clock in his office and Superboy waiting in his cell.
And at , like the boy he was 20 years earlier, Freddy dives back into the water one more time. But this dive is a truer bravery than before, as this is a man who now knows the cost of doing the right thing, who has been ravaged by it, and dives back into its impenetrably black waters anyway. Freddy howls, his ear oozing blood, his voice reaching an otherworldly pitch as if to announce some essential transmogrification of his soul: he cannot hear anything, and the voices that have held him back for so long are now gone.
He staggers alone through Garrison, shotgun in hand, in total silence, the once half-heard world now totally separate from him. He is free, no longer Freddy the loser, Freddy the joke. He is Sheriff Heflin, and he marches through the town in a ringing murk of deafness that may as well be the steady, muffled roar he last heard at the bottom of a marsh when he was The cop drama is gone now. The sheriff stands over him, and in a whisper makes clear his victory was not in shooting his mentor, but in turning away from him:.
Views Read Edit View history. They have been a stubborn, single-minded human herd; which is the reason Red River , with its supremely unpromising storyline moving ten thousand cows from Texas to Missouri, imagine that , is the greatest of all epic Westerns. Your password has been changed. They have been a stubborn, single-minded human herd; which is the reason Red River , with its supremely unpromising storyline moving ten thousand cows from Texas to Missouri, imagine that , is the greatest of all epic Westerns. February 17, by Toby. Alfred Prufrock" October 4, by Brenna Ehrlich. Professionally made, sometimes spectacularly acted, these are movies that make sense and are actually about something.
There is only the steady, unyielding sound of his own pulse, his own drum that he lost 20 years ago doing a brave thing…and regained 20 years later by being even braver. Those are the characters that appeal to me. Non-physical courage is the most profound courage of all. That knowledge is what makes Freddy as much a hero as the long line of mythic gunslingers and goodhearted men and women in the fictions and films and fables that have preceded him. Mangold has continued his exploration of genre going so far as to direct the excellent to Yuma remake in ; a decade later, he made Logan , a powerful and devastating superhero film that wed elements of Shane and Paper Moon to the X-Men universe , and while Stallone has more or less returned to the world of action filmmaking in the years since its release, he has layered his recent work in films like Rocky Balboa , Creed , and Creed II with the kind of vulnerability, heart, and humanism that he so devastatingly portrayed in Cop Land as Freddy Heflin, the man at the whirring center of that dime-store tornado of hardboiled noir and Western fable.
The man who crossed the bridge between two worlds, two cities, two genres, deaf and bloody but with a drive and purpose and steel that renders him nearly unrecognizable from the drunk and tearful man that once sat beneath the GWB. As he marches through a crowd of angry, resentful police, he cannot hear their jeers and slurs, or feel their elbows and fists, he sees only the offices of Internal Affairs and the face of a shocked, quietly impressed Tilden, who recognizes the bloody man approaching him as the law.
Together they take Superboy into the building, unfazed by the angry mob of police, unable to feel in the harsh light of day the piercing red and blue spinning lights of nearby cruisers—. You take in these pulp stories of good vs. Stories of frontier towns, of mob-mauled neighborhoods, of innocent people in need of help, of second chances, and the heroes that fight for them. The cowboys. The beat cops. The vigilantes. The hardcases. The crooks-gone-straight. The gumshoe detectives.
The sheriff of Garrison, New Jersey. Travis Woods lives in Los Angeles. He has a dog and a tattoo of Elliott Gould smoking. Bob Dylan once clapped him on the back and whispered something incomprehensible. These are the only interesting things about him. NOTE: For educational and research purposes only.
Absolutely our highest recommendation.
Lots of amusing stories are shared about what it was like working with such a legendary ensemble, including some candid anecdotes about a few polite disagreements that occurred on-set. Stallone describes how he achieved his physical transformation and confesses to being a little intimidated by De Niro.
Filled with interesting production trivia this is a very strong commentary that fans should definitely check out. Cop Land: The Making of an Urban Western highlights pre-production, casting, filming and editing, and features interviews with the cast and crew.
Intended for editorial use only. All material for educational and noncommercial purposes only. Your generosity preserves film knowledge for future generations. To donate, please visit our donation page , or click on the icon below:. By Travis Woods A rotating wire bookrack stands in a shaded corner of the used bookshop, its metal sleeves packed tight with yellowed, spine-split paperbacks. And all that whipspun cover art clouds together, too, bright red paintings of Western lawmen framed by bloodied sunsets pooling into the midnight blue artwork of detectives ensnared by dark nights of urban corruption, these covers of varied reds and blues cycling over and over and over, and you can see the man more clearly now, see him huddled in that spinning red and blue as he looks up, and you can see as— —Sheriff Freddy Heflin Sylvester Stallone stares with sleepy-eyed sorrow past the Hudson River.
It will end, though, on the soundless and bloody morning of his rebirth. Enter, improbably, Sylvester Stallone. Together they take Superboy into the building, unfazed by the angry mob of police, unable to feel in the harsh light of day the piercing red and blue spinning lights of nearby cruisers— —that slowly comes to rest as you stop spinning it, the red and blue haze of cover art dissolving back into individual paperbacks held tight by the wire frame of the slowing bookrack.
Particularly Bob De Niro, who was really phenomenally supportive of me behind the scenes. He has a very warm and very honest presence, and his father was a painter, my father was a painter, we lived near each other in New York, and I think it was a very primal level where Bob felt a kind of an identification or a kind of sympathy or empathy for me.