Saddle the Wind (1958)

Calificación de los usuarios:

6.4/10   

Director:

Robert Parrish

Escritores:

Rod Serling (screenplay)
Thomas Thompson (screen story)

Fecha de Lanzamiento:

22 abril 1958 (Japan)

Género:

Del Oeste

Plot:

Steve Sinclair (Robert Taylor) is a world a world-weary former gunslinger, now living as a peaceful farmer...

Comentarios de los usuarios:

Excellent, subversive Western.

Reparto

Robert Taylor	...	Steve Sinclair Double S Owner
Julie London	...	Joan Blake, Tony's fiancee
John Cassavetes	...	Tony Sinclair
Donald Crisp	...	Dennis Deneen
Charles McGraw	...	Larry Venables, Gunfighter
Royal Dano	...	Clay Ellison, Owner of Strip
Richard Erdman	...	Dallas Hanson, Saddle Tramp
Douglas Spencer	...	Hemp Scribner - Double S Foreman
Ray Teal	...	Brick Larson - Deneen's Foreman

También conocida como:

Más rápido que el viento (Spain) [es]

Duración:

84 min

País:

USA

Idioma:

Inglés

Color:

Color (Metrocolor)

Relación de Aspecto:

2.35 : 1

Sonido:

Perspecta Stereo (Westrex Recording System)

Clasificación:

Australia:G | Finland:K-16 | Sweden:15 | USA:Approved (certificate #18719) | West Germany:12

Compañía:

Metro-Goldwyn-Mayer (MGM)

Citas:

Tony Sinclair: You better open your eyes because I'm not just your kid brother anymore. I'm a full partner and I ride abreast of you. And you're not sitting on me anymore.
Steve Sinclair: I never sat on you; I never tied you down! I only wanted one thing in my life and that was to see you rise up. You only got up as high as your gun belt. And that's a low height for a man.

Banda de Sonido:

Saddle the Wind

Excellent, subversive Western.

In the 1950s, the best way to attack an intolerably conformist society was to take a harmless 'popular' genre and subvert it, overturn its assumptions. Sirk did it with the woman's picture, Minnelli with the musical, Hitchcock with the thriller; Robert Parrish does it here with the Western, with a vision of Eisenhower family-values capitalist America as a medieval feudality, where everyone must pay obeisance to a landowner, where the stable family unit consists of a killer and a wild sexual neurotic, and where capitalism is actually destructive to the family and continuity, a sterile thing.

Whether John Cassavetes is an embodiment of the Western hero gone wrong, the pressure of capitalism turned in on itself, or a rebel without a cause, the film is full of powerful incident - Cassavetes' first insane shooting spree, which he ends by shooting his own puddled reflection; the drunken attack by Cassavetes and friend on a family of homesteaders, uncomfortably reversing the old attacking-Indians routine; the Leonesque showdown between Cassavetes and Ellison backed by his own brother. Very much a post-'Searchers' Western, land here is synonymous with spilt blood not destiny.