Tag: national film registry

NFR #1: 3:10 to Yuma (1957)

Posted on by Bea

The public perception of the American Western is inexorably intertwined with a specific concept of masculinity that- no, stop, don’t click away you asshole. I’m making a point. I’m not here to blow smoke up your ass, but if we’re going to have an honest conversation about the media that the National Film Registry has determined comprises the cultural fabric of America we need to talk about how and why without mincing any fucking words. The western genre was made with a very specific image of men in mind and, we need to be honest here, was broadly made for a very specific audience of men. This is probably why for a large chunk of my life, I stupidly, ignorantly, wrote off the entire genre as a loss. 

 

 

The perception of the big swinging dick American male is diametrically at odds with both the protagonist, Dan Evans, and antagonist, Ben Wade. Neither is a grizzled, cigar-chomping Man-With-No-Name or a swaggering John Wayne-type. In lieu of that, there is a softness to both of them; distinct from one another but both of their edges have been sanded off to create men who do not conform to the mold I (and maybe you!) believed men of the wild west had to adhere to in order to survive. The starkest difference between the two is Ben Wade is not unwilling to kill when pushed to it, but he also does not go around murdering as he pleases with his little gang of ruffians. Ben Wade is, apparently, a gentlemen who chooses to be a lout. Dan Evans is a man who lives so rigidly within the confines of “the rules” that he is being strangled by himself and taking his family down with him. In all the ways that two men can be so seemingly diametrically opposed, the ways in which they are human and honorable in spite of the harshness of the world outside are more meaningful measures of their character.

 

 

The movie has a…look in…in 2020 the movie has a…a vibe. It has a…Hey, why do they keep Ben Wade locked in a bridal suite for like 40% of the movie with Dan? Why specifically a bridal suite? I’m certain at the time they were not intending for any homoerotic subtext but. I might have to make my big post about what “death of the author” actually is so I can explain why seeing this movie as a bisexual in 2020 is so drastically different than in 1957. It seems difficult not read into Ben Wade bouncing suggestively on the bed and wondering absentmindedly “how many brides…”? Ben Is flirtatious and flattering to everyone he meets, from the barmaid to Dan’s wife to Dan himself, preferring to solve his problems by oozing charm and greasing palms than firing shots.

 

 

Dan, conversely, is charmless but reliable. He is nothing if not true to his word and it’s evident by the end of the movie that Ben deeply admires his character when he saves Dan’s life. Poor Dan is a failure and he knows it; his ranch being on the verge of financial ruin is why he’s volunteered to escort Ben Wade in the first place. But Wade pushes all of Dan’s buttons and picks and pulls at all the threads keeping together the only thing he has left: his integrity. 

It’s a strange kind of bond that forms over the course of 24 hours that ends in one man willingly going to jail for the other even though he could have easily slipped away. But Ben Wade saw something he liked in Dan. Maybe his complete refusal to succumb to Ben’s temptations, like everyone else who crossed Wade’s path. In turn, Ben chooses to rise to Dan’s level. rather than Dan stoop to his. There is no bloodied shootout. And really, no justice. But an equilateral exchange and a torrent of hope as the train leaves the station.

 

 

I know for a fact there are plenty of the archetypal westerns on the list, making “3:10 to Yuma” unique in its execution. Shed your preconceived notions about what the genre should be and join me in exploring more of it. 

Assorted thoughts:

  • The first thing said in this movie is “Now see here, I’m Mister Butterfield!” which is the most western thing ever.
  • Though it must have been an ordeal to film on location in Arizona in 1957, the film’s setting makes the southwest look better than it does in reality (a shithole).
  • ITS BULLSHIT MOVIES DONE HAVE THEIR OWN SONGS ANYMORE…what was the last movie to do this? “wild wild west”?

here we go again: national film registry project

Posted on by Bea

Despite human reasoning and every fiber of my being screaming out against doing such a thing: I am finally, after many years, rebooting my project in which I watch as many of the movies on the National Film Registry as I can get my filthy little hands on. There is no reason to do this. It benefits no one and wastes my own precious time on Earth I could be spending doing anything else on watching hundreds of hours of movies in which there is a 75% chance at least a little racism happens. But since the first time I tried to conquer this almost 5 years ago, my understanding of how exposing myself to a wider variety of film intersects and intertwines with my life and has vastly improved how I approach plot and character writing. My brain also works better now, so that also helps. I think this could be a good thing. We could broaden our horizons together, you and I.

what is the national film registry?

In 1988, the Film Preservation Act established a board whose goals were to “ensure the survival, conservation and increased public availability of America’s film heritage”. Every year the board picks 25 new films that it feels are significant to the American historical or cultural landscape for safekeeping and preservation on the registry.

why are you doing this?

My intent is to review these films with the steely, dumb-ass gaze of your modern, average American and determine these things:

  • Does the film remain culturally (or historically, technologically, etc) significant?
  • Is the film entertaining by modern day standards?
  • What are the themes and messages being put forward by this movie?
  • Should anyone watch this? Who is it for?

I am also doing it because I am stupid and have bad ideas.

first up: the “a”s

I’m not going to go into excessive detail with each of these in this pre-review rundown but I did conquer this section in my first attempt at this gauntlet. The thing is, I don’t remember most of these movies enough to give them a fair and impartial review today. They deserve a second chance with a better functioning brain. And frankly I wouldn’t say no to re-watching half of them anyway. Here are some scattered thoughts before I sign off:

  • Remembered favorites on this list: 3:10 to Yuma, 12 Angry Men, All about Eve, Abbott and Costello Meet Frankenstein, The African Queen, Airplane!, Alien, All The King’s Men, Anatomy of a Murder, The Apartment
  • The Apartment and Abbott and Costello are probably my favorite on this list. Possibly in the world.
  • Is Asphalt Jungle the one with Marilyn Monroe’s first role? (yes first big role apparently)
  • I thought All the President’s Men was boring as hell the first time around so we’ll see how it goes this time. I also remember greatly disliking All That Heaven Allows because I kept waiting for something to actually happen but instead its just about a cougar who bags a hot stud. 90% of 2001: A Space Odyssey is boring to me too. Not that I think that it’s bad, I understand why it is good. It just does absolutely nothing for me. You might as well just hit me on the head with a claw hammer for 3 hours, its the same experience.
  • [ages 30000000 years thinking about when i have to write about Annie Hall] shit

Well, see you soon.