It might be argued that many of the most famous and celebrated westerns qualify as eccentric in one way or another. RIO BRAVO mainly consists of friends hanging out together; its memorable action bits are both infrequent and usually over in a matter of seconds. THE SEARCHERS often feels like medieval poetry, and its director John Ford once complained that parts of its score seemed more appropriate for Cossacks than for cowboys. Even HIGH NOON has so many titled angles of clocks and reprises of its Tex Ritter theme that you might feel like you’re trapped inside a loop, and it’s hard to think of many sequences more mannerist than the opening one in ONCE UPON A TIME IN THE…
It might be argued that many of the most famous and celebrated westerns qualify as eccentric in one way or another. RIO BRAVO mainly consists of friends hanging out together; its memorable action bits are both infrequent and usually over in a matter of seconds. THE SEARCHERS often feels like medieval poetry, and its director John Ford once complained that parts of its score seemed more appropriate for Cossacks than for cowboys. Even HIGH NOON has so many titled angles of clocks and reprises of its Tex Ritter theme that you might feel like you’re trapped inside a loop, and it’s hard to think of many sequences more mannerist than the opening one in ONCE UPON A TIME IN THE WEST.
The dozen favorites that I’ve listed here are all basically auteurist selections. I’ve restricted myself to only one per director (although I’ve cited other contenders and/or noncontenders by the same filmmakers), and included both ones that are available on DVD and ones that aren’t but should be — or, in some cases, will be. The order is alphabetical.
Written for DVD Beaver in June 2006
