Latest / Citizen Frame / Pale Rider

Transcript

Pale Rider · Citizen Frame

• 0:00
  These people in Carbon Canyon, would you be willing to pay cash for their claims? Buy them out?
• 0:06
  Well, hell, I'd do anything to prevent bloodshed. How about $100 a head? How about $1,000?
• 0:20
  I tell you what, I'd come up to $125. Stock burn and his deputies will cost you a lot more than that.
• 0:28
  How would you know? How much is it worth to have a clear conscience?
• 0:32
  $1,000 per claim then But I want him out of here in 24 hours Hey buddy,
• 0:38
  welcome back to another exciting episode of Citizen Frame As today,
• 0:45
  we go back to revisit another classic western That's right,
• 0:50
  it's time to visit the preacher That's right, Clint Eastwood is back in the
• 0:55
  1986 western Pell Rider 1985 I think,
• 1:01
  It's 86 You piece of shit.
• 1:06
  That's my Clint You're like the Poundland Clint I know it's fucking good Yeah right You piece of shit,
• 1:16
  Yeah You thought he was fucking here didn't you Oh yeah absolutely I thought
• 1:21
  he was just sitting here beside me It was so convincing Fucking right it was,
• 1:27
  Hey Trevor Whatever you fuck. What?
• 1:32
  I'm going to fucking kill you. Are you right?
• 1:36
  No chance? Um, that's certainly Mike Frankenstein. Yeah, you sound like I've got a really bad throat.
• 1:43
  We're here to talk for 1985, pal, right? So it is 1985 now, right,
• 1:47
  Carl? I said that in the beginning. Are you right?
• 1:51
  You're fucking... Jesus. Not only does he get the name or...
• 1:57
  I'm sorry, the year wrong, but also he does a really bad animation.
• 2:03
  That's not. We're going to have people call in going, I can't believe Citizen
• 2:06
  Frame got Clint Eastwood on. Yeah, exactly. Yeah. You wish.
• 2:11
  You just go like, hey, Clint, what'd you think about doing the movie?
• 2:16
  That's good as Citizen Frame. It's biggest rule to date.
• 2:22
  All right. Yeah, we're here to talk to the 1985 Pale Raider,
• 2:25
  the number one Western, number one box office, money-wise, for the 80s.
• 2:31
  It was a big hit for him, like most of his stuff.
• 2:36
  And it's the first time he was back on the horse, or Western,
• 2:41
  I guess you can say, nine-year gap. Fun little fact about our boy Clint.
• 2:45
  Didn't know this. He's allergic to horses. Right? I think I may have read that somewhere before.
• 2:53
  So there's a reason why you always see him.
• 2:56
  He's rarely seen in close-up shots while on horseback. Yeah,
• 3:00
  it's obviously a stuntman.
• 3:01
  Yeah, so he has to take medication before any kind of horse scene.
• 3:06
  And he had to get away from it for a little bit because of the symptoms he was getting. Right?
• 3:11
  Isn't that weird? I have never heard of anyone being allergic to horses before, but there you go.
• 3:16
  All right. There you go.
• 3:19
  Clint, man. If all people include Clint. I know that. I know.
• 3:22
  Maybe it's the horse hair. It's a bit of a letdown, to be honest.
• 3:26
  You know the mama no name.
• 3:30
  He's afraid and allergic of horses. See, it's fucking even better.
• 3:35
  He's like, I'm going to sneeze a lot, but I'm going to ride that horse and do some killing.
• 3:41
  Well it would be an easy way to take him down just like sort of make a horse
• 3:46
  run in front of him or go anywhere near close to him you know that explains
• 3:51
  what happened to him on unforgiving when he got the flu exactly yeah it wasn't really the DTs.
• 3:57
  Alright we got Clint's back as the preacher we got Michael Moriarty as Hull,
• 4:04
  Kerry Snodgrass as Sarah Sidney
• 4:06
  Penny as Megan, Chris Penn always like to see Chris Penn said he died.
• 4:11
  So young, fucking drugs. Yeah.
• 4:14
  Plays Josh. Love Richard Dysart. Boy, he's coy.
• 4:18
  Coy the hood. Yep. And a boy, you can call him Jaws, but for this film, we'll call him Club.
• 4:24
  That's Richard Keel. Always likes to see him getting parts. Yeah,
• 4:28
  he just passed a couple of years ago as well. Exactly.
• 4:31
  And long time buddy, and a long time, well, he's in most of his films, Doug McGrath as Spider.
• 4:41
  And a really creepy looking John Russell of Stockport. Mm-hmm.
• 4:46
  Quite a simple film. When you watch it, I think Clint will even back this up.
• 4:49
  It's pretty much a retelling of two films. High Noon meets Shane. Yeah.
• 4:55
  Definitely got Shane vibe in this one. It's very much a sort of generic Western story.
• 5:02
  Stranger comes to town. Towns folk are in trouble.
• 5:05
  Stranger helps them out. Kills the bad guys. And there's a sort of standoff at the end.
• 5:11
  It's not unlike an episode of The A-Team. In fact, every single episode of The
• 5:16
  A-Team. Okay, you're in the fucking A-Team. What?
• 5:19
  It's true, bud. Every fucking movie. I mean, it's not.
• 5:23
  It's just... People will be listening to you comparing movies to The A-Team.
• 5:27
  I'm talking about the basic plot.
• 5:30
  I mean... I mean... Can you get something else, man?
• 5:34
  All right, then Doctor Who. Twilight Zone. Oh, so fuck me. X-Files.
• 5:39
  Fuck it off. Fuck it off. I opened that window. It was my fault.
• 5:43
  I apologize to our listening audience.
• 5:46
  That Flynn can take a basic formula. Well, all Westerns are that formula.
• 5:50
  What the fuck am I thinking?
• 5:52
  There really isn't no other Western. That's what I'm saying.
• 5:54
  I mean, the cliche of the Western is this, and that's what we want.
• 5:58
  It's not a bad thing, and it's a lot better than the A-Team.
• 6:02
  This is an A-grade cinema masterpiece in filmmaking.
• 6:06
  He's fucking comparing Clint Eastwood to the bad people. I'm talking about the basic plot,
• 6:10
  and I would just like to add that I love the A-Team, And I think it was fantastic
• 6:14
  But yes, everything else was the same Essentially in terms of the template of
• 6:19
  the plot Not unlike the western Sort of template Trope of plots,
• 6:25
  So we got the La Hood gang, La Hood, which is run by Richard Dysart.
• 6:31
  He's coy. Yes. And his son, Josh.
• 6:34
  And his son's Josh is looking to take over the small mining community.
• 6:39
  The small mining community has the claims to this area, but they need those claims.
• 6:45
  So they're going to bully them out. I would like to say, first off,
• 6:49
  that the small community are absolute dipshits, each and every one of them,
• 6:54
  more or less. apart from the Carrie Snowgrass character.
• 6:58
  Well, we'll dive into a minute once we start talking about the characters,
• 7:03
  okay? It's a lot like the A-Team.
• 7:07
  The A-Team is multi-layered, you know, classy stuff.
• 7:11
  You know what? The one thing I can say, the regular A-Team, I can't say,
• 7:16
  I actually say, I love it when a plan comes together.
• 7:18
  I would love to say that when I'm doing a podcast with you. I pity the fool, Hoobytran.
• 7:24
  Argue with me on a podcast. I would love it when a podcast comes together.
• 7:28
  I would love to say that just once. Just once.
• 7:33
  I pity the food. You crazy fool. Wow, that is the whitest Mr. T ever. Well.
• 7:41
  You didn't even try. But still better than your Clint Eastwood impression.
• 7:47
  Fuck you, man. Fuck you. Everyone's going to be calling. Yeah. That's like me. Ugh.
• 7:54
  Anyways, opening scene, pretty much like a five-minute montage of them killing things.
• 8:00
  We have a hood gang, pretty much destroying tents, killing Megan's dog, shooting per cows.
• 8:04
  Per cow. Yeah, but did you notice as well, there is a sort of an error where
• 8:10
  you're supposed to see the cow land their dead with a bit of basically corn
• 8:14
  syrup on its nose, but the cow actually breathes.
• 8:17
  So it's not very good acting by the cow.
• 8:19
  So I'd just like to flag that up. But first of all, that cow has been in plenty of films.
• 8:24
  There's won plenty of Got Milk Awards. What's his name? Is it?
• 8:29
  You know, Larry. Right. Larry the cow. And I'll tell you what, the cow was dying.
• 8:36
  Didn't it have to be dead. It was dying. That was dramatic.
• 8:41
  A lot of dramatic weight winning of that cow. Right. Well, you know, what can I say?
• 8:46
  But to me, it looked like bad cow acting, you know, but still better than the
• 8:51
  actor she plays Megan. I'm only joking.
• 8:54
  Actually some of the sort of the people of this community here actually genuinely
• 9:00
  whenever I was watching it reminded me of Deputy Andy you know the,
• 9:06
  dopey cop in Twin Peaks you know they are dipshits let's be honest so they needed
• 9:12
  help it was pretty much a simple story and I do like the fact where,
• 9:18
  they always pepper a little humor in this one where Unforgiven is pretty much
• 9:24
  straight oh yeah yeah it's very correct this one peppers some good.
• 9:30
  Humor which most of his films do so this is taken more in vain of the cleanest
• 9:35
  style where Unforgiven kind of chewed from that so it was nice to go back to
• 9:41
  revisit that you know some of the tongue in cheek there's a funny scene where,
• 9:45
  Hall's going back into town and clearly something happened to him when he went there last.
• 9:51
  And one of the dumb sons of a spider goes, are you going to town? He goes, yeah.
• 9:57
  Ain't that kind of dumb what happened last time? And then he just ignores him,
• 10:01
  walks on, and then the other dumb son comes up to him, where are you going? In the town?
• 10:06
  Ain't that kind of dumb what happened last time? Well, you know you're doing
• 10:08
  something stupid when spiders, stupid dipshit sons are calling you out on it, you know?
• 10:16
  And But here we come He's
• 10:20
  going to town He's got his goods I
• 10:24
  do like the shop owner And the
• 10:26
  wife I think they're very good characters Very small part
• 10:29
  of course But they're just planted there to show What these
• 10:33
  merchants were there for They're there to help everybody And they gave them
• 10:37
  complance To grab what they needed from the store They'd have to pay it back
• 10:41
  But there was some really clever dialogue Between Ho and the shop owner and
• 10:46
  the wife and just about what the community would do to help these folks,
• 10:53
  you know, find their riches.
• 10:56
  They're there for basically exposition to sort of set up what's happening with
• 10:59
  the town and this community.
• 11:02
  Well, yeah, but there's more to it than that. It's more, in a sense,
• 11:05
  it's more of back then that a lot of people had each other's backs,
• 11:12
  including store owners and merchants.
• 11:14
  Not all of them were going to be the Lihuts so I do like that they kind of planted
• 11:19
  that seed not everybody in this town is ugly,
• 11:21
  I think you do need to do that because a lot of the cliches in these films it's
• 11:27
  run by evil people and you never really get to meet the good people,
• 11:31
  that's usually the guy with the gun the hero who comes into town so I liked
• 11:36
  when they showed the merchants and how decent they were as well quite frankly
• 11:40
  as town folks as you say back then town folk Yeah.
• 11:45
  So, dipshit Hall goes in and gets his ass kicked like he had any chance with these bastards.
• 11:49
  Yeah. He deserved it because he was told by two fellow dipshits not to go into town.
• 11:56
  But he went down there anyway, and he got his shit kicked in with sticks.
• 11:59
  I will say this. For a guy...
• 12:03
  The guy's kind of quite arrogant, considering he's a pussy. Yes, he is.
• 12:08
  Yeah. Even though I did like the scene when he's talking to the merchant.
• 12:14
  He was kind of being smart-ass with him, not in a mean-spirited way,
• 12:18
  but at the same time, like, really?
• 12:20
  You got the balls to do this? Because you're about to get your ass kicked.
• 12:22
  I actually think he is a very well-rounded character in terms of the writing
• 12:29
  of the character and also the way it's played.
• 12:32
  Because, you know, although he's quite annoying, yes, there is a certain arrogance
• 12:37
  about him, you know, and he's sort of, you know, yes, he's a weak man,
• 12:42
  but he's sort of trying his best to impress, you know, the woman he loves and stuff.
• 12:48
  And eventually he does have an arc and he does sort of go full circle.
• 12:53
  And yeah, I think it's from Bill. Of all the characters, of all the characters,
• 12:59
  that he's not going to have one, We don't know who this guy is.
• 13:04
  Clint's playing Clint. Yeah. And that's fine. That's what we want.
• 13:08
  But the one who gets through, there's really only one character who needs the
• 13:11
  arc here, and that is Hulk. Yeah. And he gets it.
• 13:15
  So, yes, and he does get it. But now, so I love when the introduction of Clint
• 13:20
  comes in like a ghost, and one of the guys turns around, he's gone.
• 13:25
  And then he turns around again, and he's still gone.
• 13:29
  Well, there's a lot of sort of, aside from him being a preacher,
• 13:33
  there's, you know, in terms of the dialogue, there's other sort of religious
• 13:36
  iconography going on as well, you know, like whenever the girl's reading from
• 13:40
  the Bible and she talks in terms of, you know,
• 13:44
  and he came on a pale horse and his name that sat on it was death,
• 13:50
  you know, so that's the way he sort of comes into town, you know,
• 13:53
  from the book of Revelation.
• 13:55
  Well, the film was called Pale Rider because of the Four Horsemen on the Apocalypse.
• 14:00
  As the Pale Horse's ghost rider, he represents death.
• 14:05
  That's who Clint is supposed to represent. That's why it's called Pale Rider. Yeah.
• 14:10
  When Hull gets attacked, and then Clint shows up, right?
• 14:14
  And they're about to set his goods on fire, and he throws the big bucket of water over him.
• 14:19
  And Clint goes, you should never play with matches. Oh, yeah, yeah.
• 14:24
  Well, you know, you expect those types of one-liners from the likes of Clint
• 14:28
  and, you know, James Bond, Arnie, that sort of thing.
• 14:32
  And then they're trying to beat the shit out of him with these hickory sticks,
• 14:35
  and he's just like beating the shit out of him. That was so cool.
• 14:39
  And then he goes, no, basically it did bug me a little bit because the bad guys
• 14:43
  come at him one at a time instead of like, in real life, they would all jump on them together.
• 14:48
  So instead actually no if you look at
• 14:51
  the if you look at the vicinity of the location where they're located they're
• 14:54
  in a tight quarter well they do seem to come out one at a time which is a bit
• 14:58
  too convenient for me but no but it's a minor niggle no no it's not it's not
• 15:03
  a niggle because you're wrong they're in a tight space they couldn't all go
• 15:06
  at them once right well actually they could have but look at it again look at it again,
• 15:11
  are you from this of dipshits yeah well no I'll be fucking Clint I'm a pale
• 15:17
  raider They're fucking coming in to kick your ass and to go,
• 15:19
  where's this Trevor fuck?
• 15:22
  The end. All right. Five-minute movie. Five-minute movie. Box office. All right.
• 15:31
  Yeah. So he decides he wants to reward him with some food and a little nappy time.
• 15:40
  But this is where you find out he's an actual priest. I wonder if he is a priest.
• 15:45
  Well this is it it's never actually
• 15:48
  delved into so it could be you
• 15:51
  know that he has obviously does have a
• 15:54
  dark past you know you see the you see the bullet holes and the
• 15:58
  marshal guys know him especially the main marshal guy so i liked it that it's
• 16:03
  more sort of just vaguely suggested and hinted at um instead of you know being
• 16:08
  just given a full sort of data dump by someone um you know where we Get his
• 16:12
  whole back story So yeah I like him being mysterious And his past being mysterious as well,
• 16:18
  But yeah, I mean, yeah, he could well not be a preacher, or maybe he had such
• 16:23
  a dark past that he's tried to turn to God, a bit like Russell Crowe in The
• 16:28
  Quick and the Dead, you know, to repent for his sins.
• 16:31
  You know, looking back to the religious stuff as well.
• 16:35
  It could be. It could be. It could be.
• 16:39
  And these Quick and the Dead stole from us, bastards. I mean,
• 16:43
  but they stole from, I mean, they're both Westerns, full of Western tropes.
• 16:47
  So I mean what's like a chicken and egg thing you know.
• 16:52
  So I love my cleaning swords and most cleaning swords really don't really dive
• 16:58
  into the lump interest he's really not into that yeah he's more into just when
• 17:02
  we kill the bad guys maybe have little little something something but nothing
• 17:08
  major he's not really into all that and so.
• 17:14
  So when you add Megan and Sarah into this mix. It's weird.
• 17:19
  And he sleeps with Sarah. Yes. And the mother. And Megan wants them.
• 17:25
  And a couple of problems I have with this one. And we'll give this a little
• 17:28
  worth now just to get out the awkwardness. Yep.
• 17:33
  Now it was the time, man. What? So what are you saying? It was the 1800s, man.
• 17:38
  It was the 1800s, man. This is how it worked. So the Sarah one,
• 17:43
  I'll give you because of the fact that- It's Clint.
• 17:47
  Right. At the moment, we're talking about Hull, who's kind of a, well, he's not a pussy.
• 17:51
  The guy is willing to go into town and get his ass kicked, give him credit.
• 17:54
  But he's a bit of a weak mark. He's willing to-
• 17:57
  He's a bit of a weak man, but he's not a bad guy. And he does have courage. Yeah. He's not a coward.
• 18:02
  But something's not gelling there. She wants a little yum-yum time with the hero.
• 18:08
  And so I get her wanting to fulfill that to see if Hull is the man for her. Yes. I get that.
• 18:18
  They could have removed this Megan thing. Yeah. Easily. They could have had
• 18:22
  her a father figure, maybe more of a father figure than Hull has been.
• 18:26
  A hotter older. something else but the only problem i had with it was a she
• 18:32
  falls in love with him within 30 seconds,
• 18:34
  now don't keep me wrong this happens to me all the
• 18:37
  time mother you want to get down this road seriously you want to get down this
• 18:42
  road not not of age no no of legal you know what i was trying to make a joke
• 18:48
  now you make me dude you know forget forget all the shit you give me out there
• 18:53
  like for years and months good but no no,
• 18:58
  no no with I think it would
• 19:00
  have worked better unless I get it it's a teenage crush she has on Clint and
• 19:06
  thankfully Clint doesn't reciprocate thankfully no but the whole now we're probably
• 19:12
  being little school boys laughing hee hee hee but it's how it's written and that's what kind of,
• 19:19
  throws me off and makes me kind of feel Like she goes, I think I love you. Yeah.
• 19:26
  And so that means there can't be anything wrong if I love you with making love
• 19:30
  to me. Can you show me how? I'm like, oh my God.
• 19:33
  They could have dropped a lot of that battle. I know. Yeah.
• 19:36
  I understand what they're trying to do.
• 19:40
  And it's just, it was very awkward. Yeah. And I would say that a lot of this
• 19:46
  dialogue does border, not a lot of it, I would say, but some of it,
• 19:51
  does border on the sort of melodramatic, sup'opera-esque.
• 19:54
  Yes. Yeah. Yeah. Especially here. I would get this out of a,
• 19:58
  like, Brian, he tells her, and he actually gives him credit.
• 20:02
  He goes, you need to practice loving someone first and forward.
• 20:06
  Making love you know making love you want to but you know telling him you
• 20:09
  want to you want to date somebody for a while yeah it's
• 20:12
  awkward for you let's be honest and then he and then
• 20:16
  she goes if i practice loving
• 20:19
  for a while will you teach me and then
• 20:22
  she goes right for a start and then she goes then
• 20:25
  she goes i'll be 15 next yeah yeah i
• 20:28
  know it's just like jaw dropped sort of crap I mean
• 20:31
  first of all putting aside the weirdness
• 20:35
  and the awkwardness of it who actually talks
• 20:38
  like that and more importantly who in the Wild West
• 20:42
  would talk like that you know what I mean it just rings they should have dropped
• 20:48
  it or at very least made her character a bit older maybe 21 or something like
• 20:53
  that but thankfully Clint saves the day in that he basically tells her where to go in so many words.
• 21:02
  I'd say it's a lot more cringing, essentially.
• 21:05
  Okay, so we'll move on from that. We're uncomfortable with the Megan thing.
• 21:09
  Now, we understand, I understand a little girl having a crush on an older man. That's fine.
• 21:16
  But it's just the way it was written that bothered me. That's all.
• 21:20
  It's not the actual girl having a crush on an older man.
• 21:24
  It's just someone that was like, okay. If anything, the could have just left
• 21:27
  it maybe suggested or something.
• 21:29
  But I think they go into it too much and it just becomes weird and out of place.
• 21:34
  I'm here to watch Clint kill people and shoot the bad guys. I don't want to
• 21:39
  see or listen to this weirdness.
• 21:45
  Okay.
• 21:49
  So, I do like the scene where Hall is trying to, God love him, he's a fucking idiot.
• 21:56
  They're all idiots. Trying to smash this boulder, the sledgehammer thing.
• 22:03
  But I do like when Joss comes in with club Joss, Richard Kiel.
• 22:08
  And then how Richard Kiel, fuck, I would hire this guy to fucking do the boulder.
• 22:14
  He takes the boulder, he must crack a quarter of it in half,
• 22:18
  just with one big swoosh of the sledgehammer. Yeah.
• 22:23
  And the great thing about this, again, playing with a little tongue-in-cheek,
• 22:26
  You've got Clint Eastwood and he, he takes his own flat camera and puts between
• 22:30
  his legs. Yeah. He gets a set camera between the balls and,
• 22:34
  And Richard Kiel is just like, oh, it's okay, buddy. You put a little ice on it, you'll be okay.
• 22:40
  I would say that actually Richard Kiel's character here, as small of a role
• 22:46
  that it is, he actually has an arc.
• 22:48
  So he does where he comes to the good side.
• 22:53
  Yeah, we'll get to it. so anyways but this seems actually pretty decent because,
• 23:00
  they all see a big chunk of the rock has been taken off and now they're all
• 23:05
  teaming up to get the boulder to crack the boulder,
• 23:09
  I think that it does, it shows that the preacher is bringing them together,
• 23:14
  there is some commentary here about capitalism,
• 23:18
  obviously it's set during the California gold rush
• 23:21
  and obviously you know the bad
• 23:24
  guys are essentially you know they're just there for the
• 23:26
  money but i like how it's quite cleverly done
• 23:29
  where you're it's you know essentially the townsfolk
• 23:32
  or not the townsfolk the community folk are there
• 23:36
  for the gold themselves too so i like how
• 23:39
  there's gray areas even though there is sort of stuff about
• 23:42
  you know capitalism and also um religion
• 23:45
  too but it's cleverly written in that respect and that
• 23:48
  you know there's gray areas from with both sides I think that's what we were
• 23:53
  talking about The relationship between Megan And the creature is because Everything
• 23:58
  else is so well written That seemed kind of creepy It's like the hard daytime
• 24:02
  soup opera Writer just for that scene alone You know Yeah.
• 24:09
  I do like the scene where he goes back into town, and LaHood wants to speak with him. Yes.
• 24:16
  And he's trying to bribe him, and Clint's a sister.
• 24:20
  Doesn't say anything, just Clint. Yep. And he hates it.
• 24:23
  The less he says, the more pissed off LaHood gets. Yeah, he cracks.
• 24:27
  And he finally loses it, and he goes, I'll tell you what, you've got 24 hours to pack up and leave.
• 24:33
  Yeah. And any blood spills is on your hands.
• 24:36
  And the minute he says that, he does that Clint stare. Yeah.
• 24:38
  He's drinking he's having a drink or something and he lets the glass down and
• 24:44
  he just stares right at him and you can see Richard Dysart played it really
• 24:48
  well too just like oh fuck yeah it's a go ahead make my day punk star yeah exactly.
• 24:56
  Stare dude yeah and right there then he
• 24:59
  tells him you know Stockport is coming and Clint just
• 25:02
  knows who Stockport is and he's trying to it's a
• 25:05
  nice scene when he's trying to bribe him he goes I'll buy their claim each for
• 25:08
  a hundred a hundred a head and he goes if you're
• 25:11
  going to call stockburns men he goes how about
• 25:14
  a thousand a head he starts laughing and clint goes
• 25:17
  well if you're going to call stockburns men they're going to cost you more
• 25:20
  than a thousand yes yeah so a thousand a claim and actually stockburn agree
• 25:25
  i mean what's his name la hood agrees to doing that yeah that's it and that's
• 25:31
  again i like the scene where they go at the fire and this is where they all
• 25:36
  discuss do we take the thousand dollars,
• 25:38
  or do we take a chance and fight against Stockburn and the six deputies that
• 25:43
  are supposedly becoming yeah.
• 25:46
  But I don't know what I would have done to be honest with you no it's a good
• 25:51
  dilemma I would have liked to have seen this play it up more,
• 25:56
  again I'm sort of nitpicking it away but I do think overall with this I would
• 26:01
  have liked to have seen more tension essentially and more drama in terms of
• 26:07
  the dilemmas that we'll have.
• 26:11
  With some of the people of the community maybe going against each other and
• 26:17
  some of them wanting to take the money and run and some of them wanting to stay
• 26:20
  and fight and stay for the gold.
• 26:23
  So yeah, there is. I would have liked to have seen more tension and drama overall,
• 26:28
  but especially with this part of it.
• 26:30
  I think the reason they're setting this up is because the preacher,
• 26:35
  after he has the little fallout with Megan, he disappears.
• 26:39
  We all don't know where he went. We know he's coming back. He's Clint.
• 26:42
  But there's a great scene where Sarah confronts Hull and goes,
• 26:47
  you're a fucking idiot. Why? Because now the preacher's gone.
• 26:51
  You held him. They all thought we had him. Yes. We had the preacher. We had the savior.
• 26:56
  And now he's gone. You really think you can go after these men? It is a great,
• 27:02
  Once you take out the hero, you know, what are these people going to do?
• 27:06
  They're fucked. Yeah, they're back to square one.
• 27:07
  But they have learned in a way, and due to the effect of the preacher, you know,
• 27:14
  within their community, they have learned in a way to sort of be a bit stronger,
• 27:19
  but they still need Clint there to shoot everyone up because he's Clint, you know?
• 27:25
  Exactly. But that's, you almost think, no, he wouldn't have done it deliberately
• 27:31
  because he was just going to get it.
• 27:33
  We find out he was just going to a local town.
• 27:38
  Didn't really see what town he was going to, but he has what he called a security box. Yes.
• 27:43
  And that's where he swapped out his little preacher. And it was obvious.
• 27:48
  His preacher outfit for the gun. Yeah. And it was obvious whenever Megan gets
• 27:53
  attacked by Chris Pan's character, that it was going to be Clint that was going
• 27:57
  to save her, you know? Well, you know what?
• 28:01
  Before Clint even came to save her, we knew he was.
• 28:06
  You mentioned it earlier. I do like the fact that Richard Keel's character,
• 28:13
  he heard him saying, no, no, no, no, this is not going to happen on my watch.
• 28:17
  And he was actually going in to get him off her. Yes. Oh yeah.
• 28:21
  Yeah. Yeah. Yep. Totally.
• 28:23
  And that's his arc. So, yeah. Yeah, so you have those little arcs that are in
• 28:28
  here that, you know, they're very far and few between.
• 28:33
  You have Serious, who wants to make sure Hull is the right man for her by fucking the creature.
• 28:39
  You've got Hull, who, you know, if I only had some courage.
• 28:44
  Well, he becomes a man. That's my cowardly lion. That's my cowardly lion. You're impressed.
• 28:51
  Don't give up the day job. Can't see this. No, no.
• 28:53
  He becomes the man that Sarah wants him to be Over the course of the film He becomes a real man.
• 29:00
  In Sarah's eyes But she also has to shake Clint For her to be certain of it
• 29:05
  as well But you figured When Clint goes Go ahead I'll make your day And they have yum yum time,
• 29:15
  You figured she'd be with him. Yes. I mean, you don't, you don't. No.
• 29:20
  You don't, you don't have caviar and then go back to, you know, fucking salsa.
• 29:26
  Clint made it clear that, you know, and she knows anyway, that he's not going
• 29:30
  to stick around. He's just going to drift from turn to turn.
• 29:33
  And he confirms that to her.
• 29:35
  So she kisses him just like a farewell.
• 29:38
  And then obviously enjoyed the kiss because he goes out of the house and he
• 29:42
  comes back again and saying, you know what, fuck it.
• 29:44
  So they basically have A night of passion I just don't Yeah I just don't get
• 29:50
  his His Journey Which he never will He was not on his end of the way We know that But,
• 29:57
  Yeah I guess he just needed something Yeah But He's human You know,
• 30:01
  He's not like He's not like Well you know what I'm going to sleep with you So
• 30:07
  you understand What kind of a man Hall is I I'm like no You just want to see
• 30:11
  this one Some yum yum time Exactly Yeah and she gets that night of passion but so night of passion,
• 30:19
  alright she gets you know,
• 30:22
  she gets fucked hard by Clint so.
• 30:26
  Oh wow well I mean you know either you want me to be classy you want me to be crude you know,
• 30:35
  make up your mind no I have to put a warning on this one,
• 30:40
  well these come with warnings anyway I checked the pot bean and I've noticed
• 30:44
  that we're now essentially the podcast version of Video Nasties because of the
• 30:48
  swirling. They're rated E for explicit.
• 30:52
  They are. Are we rated E? Yeah, we're rated E for explicit. Now I'm popping, I noticed.
• 31:01
  Yeah. Video Nasties, basically. Yeah.
• 31:05
  No one's going to fucking censor us. Fuck them. Exactly. Alright.
• 31:10
  All right. But I do like he shows up, instead blowing up the gold,
• 31:14
  you know, what do they call it? The Hermione community that bad guys have.
• 31:19
  And because at this point, they have no choice because they dammed their river.
• 31:23
  Yeah. So they weren't getting any gold.
• 31:25
  So they have to take action. Yeah.
• 31:28
  But I love the last 15 minutes of this film.
• 31:32
  I like my finales to be a lot longer. Like Tombstone? Yeah. Last 25,
• 31:37
  30 minutes just to be killing the shit.
• 31:39
  We don't get that here because it's only one man.
• 31:42
  And, but it's just, oh, I love it so much. It's just so good.
• 31:46
  It's quite haunting. That's how good the film is.
• 31:49
  15 minutes, it's so powerful. Oh, yeah, yeah. It's so good. And it's pretty haunting.
• 31:52
  And I mean that in a complimentary way, you know, in terms of,
• 31:56
  you know, you've got this ghostly figure of Clint sort of bumping off these
• 32:00
  marshals who are badasses themselves in this sort of almost ghost town,
• 32:06
  this ghost western town. I really like it.
• 32:09
  It's funny. They're almost like ghosts though. It's almost like they're ghosts.
• 32:13
  They're coming in. Was that a ghost impression?
• 32:18
  They're going up against another ghost technically.
• 32:23
  You talk about the miners being kind of idiots, simpletons.
• 32:27
  Well, so is LaHood's henchmen. Basically. They're fucking idiots. Yeah, basically.
• 32:32
  And Clint, hold on. And then Clint knows this. Yeah.
• 32:35
  That's how good the film is because Clint knows he's got to get rid of these
• 32:38
  fucking idiots because he can't take the six men and have these fucking ass clowns around. Yeah.
• 32:43
  So, because he knows Stockbourne's men are going to be badasses.
• 32:46
  So he needs to separate, get rid of these fucking idiots.
• 32:50
  And it's a great scene. He's sitting there just drinking his coffee and they
• 32:53
  all go in, guns blazing, wasting the bullets and he just sits there and he goes
• 32:57
  y'all and he just up to the side,
• 33:00
  just takes him out he even gives them a chance to leave two idiots run but the rest is,
• 33:07
  everybody in this film is an idiot apart from Clint and you know it's a Clint
• 33:12
  film it's a Clint western so you're sort of expecting that a good bit you know
• 33:17
  it does exactly what it says on the tin.
• 33:21
  During the whole takedown sequence you have then you got the finale with him and Stockbrook.
• 33:27
  And I absolutely love this because we kind of got this with Ringo.
• 33:31
  I talked about it at Tombstone when he got shot in the head.
• 33:34
  The moment where Clint walks right up to him and he goes, it's you.
• 33:38
  Obviously they have a relationship from the past, something happened.
• 33:41
  And he was on his gun and he just fucking wobbles him with the bullets.
• 33:47
  And you see the good old classic squibs going through the front and the back,
• 33:51
  getting blown his fucking guts out.
• 33:54
  I would say that this is quite a violent film so it is, again,
• 33:58
  thumbs up you know what I mean, they're showing the brutality of it yes,
• 34:01
  it's not as serious as Unforgiven but when he does gun him down,
• 34:07
  he looks he tries to get up to take a shot,
• 34:11
  Stockburn and he shoots him in the head,
• 34:15
  And it always bothered me when I saw it. Even younger, I was like 15 when I
• 34:18
  saw it at the theater. Yeah. 14 or whatever it was.
• 34:21
  And when he shoots him in the head, it's like Ringo. He's still somewhat alive,
• 34:25
  knowing he's got a bullet in his head. And he gets all cross-eyed.
• 34:31
  A spot-off. It's badass death, and it's slow. Usually you get shot in the head,
• 34:35
  you fall down dead. Yeah.
• 34:38
  But, oh, yeah, it was good. And then he rides off in the sunset.
• 34:41
  But we do like, this is where Hull saves his life, actually.
• 34:44
  Hull does save his life from the hood shooting. Yep, yep, exactly.
• 34:48
  And kills the main bad guy, the big bad.
• 34:51
  Yeah, I mean, it is a sort of, not just a sort of generic Western,
• 34:57
  but almost a generic Clint film.
• 34:59
  But it works, and it is enjoyable. I don't like the term generic.
• 35:03
  That's not... I don't mean that in a bad way. I'm just saying,
• 35:06
  you know what I mean? With what I... Generic is not going to work for it. I mean... You know?
• 35:10
  But... No, generic is not... It's not a generic film.
• 35:14
  No no generic is in terms of the plot it is and it being a Clint film a Clint
• 35:19
  western but I still like it and I still think it's very good yeah alright I
• 35:24
  just not the right word I would use but alright yeah I prefer Unforgiven,
• 35:29
  they're different films yeah I know that completely different films that's why
• 35:32
  I like Unforgiven because it's different for a western.
• 35:35
  Then you probably don't like the other ones then. Pill Rider is Outlaw of Jossie Wales.
• 35:41
  I know that. No, no, no. I get it.
• 35:44
  And I enjoy it for what it is. But I think the reason I like Unforgiven the
• 35:49
  most out of those Clint Westerns is because it goes outside the box and does something different.
• 35:55
  But I still appreciate the likes of Pill Rider, Outlaw of Jossie Wales,
• 35:59
  the Dollars Trilogy, for what they are. Do you know what I'm saying?
• 36:03
  Um I think you just insult the Clint I wouldn't dare you don't have to answer
• 36:11
  to me I wouldn't dare you know I'd insult you no problem but you know.
• 36:17
  Uh yeah this is this is honestly I love Unforgiven Unforgiven but Pale Rider
• 36:22
  is probably my favorite Clint Eastwood yeah oh yeah Pale Rider I gotta watch
• 36:27
  out while Josie Wallace again I'm teetering on that it's been years for me and
• 36:31
  I would at some point like to do the Dollars Trilogy with Clint.
• 36:36
  Yeah, we'll still pepper on the end because Westerners are doing quite well for us.
• 36:40
  Which we do appreciate folks listening to our Westerns Retros,
• 36:43
  well, we're doing a lot more Westerns, so we'll probably dive into a lot more
• 36:47
  Clint and get into some of the new classics including High Noon and Shane.
• 36:52
  So, but we are real busy, busy, busy, busy, busy summer.
• 36:55
  We're going to start the Mission of Possible, finish those up for the new release
• 36:59
  coming up. But first, we're going to do Event Horizon.
• 37:02
  A lot of people wait for us to do that one, so we'll get Event Horizon.
• 37:06
  And you know what? Fuck it. We haven't done horror in a while,
• 37:08
  so shut up. We're doing it. The last podcast was The Hitcher.
• 37:14
  Oh, that was a thriller. That's not horror. Oh, gee, it's a horror.
• 37:17
  I'd say it's a horror thriller.
• 37:18
  No, now you're just putting... No, that's a thriller. It definitely has horror
• 37:22
  elements. It's realism.
• 37:24
  Realism. There's no horror elements. Realism. Nope. It's a horror thriller.
• 37:29
  I was waiting for you to go, oh, my God. This has a very look, crafty, and feel.
• 37:36
  Well, technically a vet horizon. It's horror either.
• 37:41
  It's science fiction, but it's science fiction horror. It's science fiction horror.
• 37:45
  That's it. It's, of course, an alien of the science fiction horror.
• 37:47
  Alien me, Tailraiser. Don't tell me.
• 37:49
  Oh, okay. Oh, there's our view. I guess we don't even see it now.
• 37:55
  All right. Listen, guys, give us a shout at Instagram at Sinisterframe underscore
• 37:58
  podcast and of course Facebook.
• 38:00
  The new Islam of Fantasia and Gloria is out now. Available all over the world
• 38:04
  on Amazon and of course locally here at Forbidden Planet and across the US and
• 38:09
  smaller in stores locally around wherever you're get your comic books. But,
• 38:17
  that's all we got. Thanks for joining us and we'll chat soon.
• 38:22
  Take care of yourselves.
• 38:24
  Music.