It disappoints me that so many of Alice Guy's joints during this Solax period of hers did action-adventure genre work, doesn't seem like the fittingest use of her talents. Her wild west sure is a matriarchy, though -- that little settlement this movie plays out in is a place where domestic violence gets as much attention from the characters as any ol' stagecoach robbery... and when the coach *does* get robbed, it's women... and in particular two tween girls... who do most of the acts of heroism that the story's hinged on.
I'm gobsmacked to think that Griffy could have crafted a script designed to show that the people of small towns were petty, nasty, suspicious Pecksniffs and creeps; aren't those the very people he loves and identifies with the most?
Makes me think he had something up his sleeve, and I know what I think it is. What the movie's really focused on is the mother's sagacity in setting up her little legacy the way she did. A Griffith mother is…
Glib and carelessly-imagined ode to privilege. I tried to ignore my distaste for the superficial artsiness of the characters, but after the scene where the blonde girl decided it would be kicks to go to a slummy-looking neighborhood and photograph sex-workers I just couldn't. Esp. when the SW were all "Hello, American Lady Woman! We love you! Come taste the wines and cheeses of my village!"
Art is one thing, lifestyle-pimping is another.
It's got a gun and it's got a girl, so it's cinema. I think the only thing I can do right now is transcribe the notes I made to myself while I was watching it. Sustained thought? It's usually beyond me... and I want to read up on secondary materials before I commit to anything.
It's absolutely a sequel to L'Amour Fou -- in that one, the characters were struggling against the collapse of meaning, and in this…