The Importance of Hats

A nice hat is, without a doubt, an essential tool for the writer. Partly it has practical value. While walking the earth in search of inspiration, it can help shield you from the rain or a low sun. If it's hot, you can fan yourself with it to keep cool. When sleeping, you can pull it over your eyes. You can wave it in emergencies to attract attention. And when you're working on your novel or perhaps languishing in your day job, it makes a great cushion once the need arises to hit your head against the desk.

More importantly, it has a great psychological value. When reading out your work to an audience, a hat gives a sense of presence. After the event, people may say to the performing writer "I enjoyed hearing that story you read out, and I really like the hat." And for the writer who likes to play the gentleman, any kind gesture is never complete without a tip of the hat.

In fact, it's one of the fundamental concepts of the meaning of life; people are not wearing enough hats.

Western Weekends - Tombstone

Well, another weekend, another movie. And in honour of Powers Boothe, who passed away on Monday, I figured I'd look at Tombstone - a semi-historical drama about the Gunfight at the OK Corral and the so-called Earp Vendetta Ride.

Kurt Russell plays Wyatt Earp, a former peace officer who has built a reputation for himself in Wichita and Dodge City, seeking to retire and pursue mercantile interests in the growing mining town of Tombstone in Arizona. He is accompanied by his brothers Virgil and Morgan, played respectively by Sam Elliott and the late Bill Paxton, along with his old friend Doc Holliday, played masterfully by Val Kilmer. Unfortunately, Tombstone happens to the stomping ground of a gang known as The Cowboys. Leading them is Boothe's Curly Bill Brocious and the sociopathic gunfighter Johnny Ringo, played by Michael Biehn. Because of Wyatt's reputation, he is constantly pressured to bring law to Tombstone - leading to the events at the OK Corral.

It's not the most historically accurate film, but I'm not going to go into that as it doesn't claim to be accurate. However, I do think the film goes downhill after the famous gunfight, degenerating into a blood-bath. As much as I like a good shoot 'em up every once in a while, it feels like a different film and contrasts the first half - which is based on Wyatt's reluctance to get involved in a conflict. And while Kurt Russell does have threatening moments, most of his acting is about as convincing as that moustache. Even one of his threatening scenes is delightfully hammy.

However, it's Val Kilmer who truly steals the show as Doc Holliday. He's a Southern Gentleman who's slowly dying from tuberculosis and lives every day like it was his last - because it just might be. He constantly abuses himself and doesn't have many friends, but those he does have he'll stand by to the end. Plus, all of his dialogue is pretty much gold.

Like I said, it's a very romanticised take on real events, but they do try and bring in some depth in the first half while trying to address the ensemble cast.

Western Weekends - The Big Country

So, if 2016 was bad enough, I see it also threw up a remake of Ben Hur. I'll think I'll pass. I haven't seen the 1959 version either, but I really enjoyed one of William Wyler's other works, his 1958 western film, The Big Country based on a novel of the same name by Donald Hamilton.

Gregory Peck stars as James McKay, a former sea captain from Baltimore who plans to settle down in Texas with his fiancée Patricia Terrill, played by Carroll Baker. Unfortunately, he finds himself in the middle of a feud between Patricia's father Henry and Rufus Hannassey. He attempts to keep the peace with the aid of Patricia's friend Julie Maragon, played by Jean Simmons. Julie owns a ranch known as The Big Muddy, which provides a vital water source to both families in times of drought. McKay hatches a plan to buy the Big Muddy in order to maintain the fragile peace, but his plan doesn't quite work out.

I think this is one of Gregory Peck's best roles, second only to Atticus. He's often regarded as a "tenderfoot" because of his Eastern dress sense, and seen as a coward because he always backs down from public challenges, having sworn off such behaviour after his father died in a meaningless duel. However, that doesn't mean he's incapable. He's not a coward; he just doesn't have anything to prove except to himself.

Meanwhile, Charles Bickford and Burl Ives as the feuding patriarchs are a great foil for one another. Bickford's Terrill is smooth and refined, fancying himself as a Southern Gentleman, but in reality he's underhanded and ruthless. On the flip side, Hannassey is from a poorer clan, but he nonetheless has a strong sense of honour even if he isn't the nicest man around. It's his son Buck, played by Chuck Connors, who is the notorious but cowardly troublemaker.

Once again, the film has a great visual style, and the score by Jerome Moross is fantastic. It's a long film, but it's one that's worth the time.

Western Weekends - Open Range

Well, I watched (and read) two classics last time I posted here. This weekend I'm going to go with something newer; Kevin Costner's 2003 film, Open Range.

Robert Duvall plays Boss Spearman, a nomadic cattle herder travelling through Montana with his three hired hands: shell-shocked Civil War veteran and former gunfighter Charley Waite, played by Kevin Costner; gentle giant Mose Harrison, played by Abraham Benrubi; and a Mexican orphan known only as "Button", played by Diego Luna. While travelling near a town, they come into conflict with ruthless land baron Denton Baxter, played by Michael Gambon. While visiting the town's doctor Charley becomes attracted to Sue Barlow, played by Annette Bening, but assumes she's the doctor's wife.

There's not really much which can be said about this film. The story is a typical idealistic one about strangers ingratiating themselves with the townspeople and fighting the local tyrant - but the main protagonists are a lot more cynical and world-weary than your classical Knights Errant. However, the visual style is absolutely stunning, and there's a lot of build-up to the final shootout which pays off well. I think both Kevin Costner and Robert Duvall were made to play cowboys.

At the time of writing, Open Range is available on Netflix, and I do recommend that you watch it. It's a slow film, but it doesn't disappoint.

A Weekend at The Hurst

The Clockhouse

Happy May Day. I've just got back from a weekend in the Shropshire Hills, staying at a writers' retreat organised by the Arvon Foundation - because Swanwick only happens once a year and August is still a way off. For those who don't know, I talk about Swanwick here.

Based on farmland between Clun and Clunton, The Clockhouse provides all the privacy a writer can want: Four flats, each with a bedroom, study, and bathroom - and a shared kitchen and lounge on the ground floor. It's self-catering, but all food is provided - you just need to bring your own booze.

The Ideal Workspace

Unlike Swanwick, this place was a retreat rather than a school, so I didn't have the same level of interaction I had at Swanwick. I mostly spent the days writing in my flat or wandering the grounds - Shropshire is a very pretty area after all.

However, I was able to meet with the other attendees in the evenings to discuss work and progress.

Overall, it's not Swanwick, but it's not meant to be. It's a cozy place to hide away and write - and I'll probably go back there in the near future.

Western Weekends: Lonesome Dove

Wow, I'm really diversifying this weekend. Yesterday I reviewed a TV show, and today I'll be adding book reviews to my repertoire, with Lonesome Dove, Larry McMurtry's western novel about an epic cattle drive from the Rio Grande to the plains of northern Montana.

The story revolves around the Hat Creek Cattle Company and Livery Emporium, a livestock trading firm based in the remote border town of Lonesome Dove, Texas. Former Texas Ranger Captains Augustus McRae and Woodrow Call are the joint owners of the firm, and are presented as an archetypal odd couple; Gus is affable, talkative, and compassionate, but is also lazy to the point of eccentric, while Call is a terse and stoic workaholic, but his obsession covers up his insecurities. Events are set into motion when Jake Spoon unexpectedly arrives in Lonesome Dove after being away for more than ten years. Jake served with Gus and Call in the Rangers, but is now a freeloading gambler and no-good drifter. Nonetheless, the tales of his travels inspire Call to set up a ranch in the Montana Territory. Gus is reluctant, but relents when he realises there is an opportunity to reconnect with his old flame, Clara Allen - who has a homestead in Nebraska.

The first part of the story takes place in and around Lonesome Dove, as Call assembles a crew and acquires a herd, and introduces the rest of the Hat Creek Outfit, including hired hands Pea Eye Parker, Joshua Deets, and Newt Dobbs, along with their cook, Bolivar.

As the journey north begins, several layered subplots are introduced:

• Jake is reluctant to travel with the Hat Creek outfit, and elopes with the town's prostitute, Lorena Wood, promising to take her to San Francisco. 
• On top of that, Jake is a fugitive after accidentally killing a dentist in Fort Smith, Arkansas. July Johnson, Fort Smith's sheriff and the dentist's brother, reluctantly travels west to follow his trail with his stepson Joe.
• After July leaves, his wife Elmira runs away to seek out her old flame, Dee Boot, falling in with a buffalo hunter called Big Zwey.
• Roscoe Brown, July's inept deputy, sets out after the sheriff to tell him that Elmira has run away and is also pregnant.

With all these subplots and characters, there's a lot to get through. I suppose it's justified as a cattle drive is a slow and arduous business, so you need the sub-plots to break it up.

I think that one of the biggest issues with the book is that there a couple of chapters that contain massive exposition dumps. Sometimes this is important, but it's very distracting when the chapter opens with action that is essentially paused for a couple of pages. This also involves a lot more telling than showing. However, when it does show, it shows really well. The story still manages to create a vivid setting when it isn't dumping exposition, and the journey has some truly rough moments involving hostile fauna, wild weather, and a ruthless desperado called Blue Duck.

The other issue is omniscient viewpoint. It's not easy to get sucked in when you're jumping into different characters' heads. However, this is once again do well enough that it isn't always an issue - especially at the times when the POV character is Newt. He's a teenager who was taken in by Gus and Call after the death of his mother, and it's strongly implied that Call is his father but he is reluctant to admit this. Newt is excited by what the thought of the drive and the sense of adventure this brings, but his idealism is worn away as the cowboys he works with and befriends are slowly killed off - creating some of the saddest stuff I've read in recent years.

Sorry, I seem to have rattled on for a bit. It is a massive read after all. I started it in January and have only just finished it. All in all, it's a slow start, but it's a vivid story with some very gritty and very heart-wrenching scenes. If you're willing to make the time, I do recommend it.

Western Weekends: Have Gun - Will Travel

I'm going to do something different this weekend, in that I'm reviewing a TV show rather than a film. The show in question is Have Gun - Will Travel, which ran on CBS from 1957 to 1963.

Richard Boone stars as Paladin, a West Point-educated former cavalry officer and San Francisco gentleman who makes his living as a "fixer" of sorts. He settles disputes and solves problems that could escalate into violence. While he is very skilled with a gun and with his fists, he's intended to be a guile hero rather than an action hero, and he always tries to do his job with minimal conflict.

This creates some interesting situations, often from people underestimating Paladin. When people see the business card that reads "Have Gun - Will Travel", they will often assume that he is a professional killer - an association which Paladin resents. This means they won't hire him until he proves himself otherwise or the situation gets worse. On the hand, it means they'll hire him to kill someone, which he will refuse to do.

The show is certainly a product of the time, and being a CBS series, there's a lot to get through. I've only just finished the first season, which is 39 episodes long. However, the tone can range from comedic to serious, which helps Richard Boone exhibit his talent.

I really enjoy spotting familiar faces when I watch it. For example, the second episode has Paladin meeting a sheriff's posse looking for a gunman, played by a young Charles Bronson. Paladin finds him, tries to convince him to give up, and then helps him evade the posse long enough for him to get home to see his newborn son.

Overall, the show is a good way to pass the time, while trying to have some variety within its own formula.

Oh yeah, I forgot to mention that Gene Roddenberry wrote a lot of it.

Franchise Reviews - The Good, the Bad and the Ugly

The third and final film in Sergio Leone's trilogy plays like a cross between a Western and a war film - technically making it a prequel. And a prequel that's actually good.

Clint Eastwood plays the bounty hunter known only as 'Blondie', who carries out a lucrative get-rich-quick scheme with Tuco, a foul-mouthed bandit played by Eli Wallach. However, their partnership sours and the two are soon at each other's throats until they learn about a hidden treasure buried in a cemetery. Tuco knows the name of the cemetery while Blondie knows the name of the grave, but neither of them are willing to share their information. This forces them to look out for each other, especially when they come into conflict with Angel Eyes, a ruthless and sociopathic gunfighter played by Lee Van Cleef - who also wants the treasure.

It's a pretty long film at almost 3 hours, and I have to admit that I'm not particularly keen on the slow pace. Nonetheless, it's a great story with a great payoff, and the Civil War setting does add some truly poignant moments to the savage world being depicted. On top of that, the soundtrack features some of Ennio Morricone's best work - especially the piece titled The Ecstasy of Gold, played when Tuco is running through the cemetery. I've heard that Metallica use the same piece to open their gigs.

Well, that's about it. While The Good, the Bad and the Ugly is a great film, I still think that For a Few Dollars More is my personal favourite of the trilogy.

Franchise Reviews - For a Few Dollars More

For a Few Dollars More is a film I'd compare to Aliens, From Russia with Love, or The Empire Strikes Back; a sequel that is far superior to its predecessor.

Clint Eastwood returns as The Man with No Name, but is now referred to as "Manco" (One Armed) due to his habit of doing everything with his left hand to leave his right hand free for shooting. However, the real hero of this story is rival bounty hunter Colonel Douglas Mortimer, played by Lee Van Cleef. The two hunters end up pooling their resources to go after the notorious bandit El Indio, played by Gian Maria Volonte.

While Clint Eastwood is still great, it's Lee Van Cleef and Volonte who steal the show. Colonel Mortimer is a great contrast to Manco, a smartly-dressed sharpshooter instead of a rugged quickshooter. Meanwhile, Volonte once again plays a ruthless villain, but one more ruthless than the last one. El Indio is a psychopathic, cannabis-smoking killer, but he is also a cunning manipulator who seeks to pull off a seemingly impossible heist at the Bank of El Paso. He also likes to toy with his enemies using a musical pocket-watch. He's not someone you'd want to meet on a dark night.

For a Few Dollars More is probably my favourite film in the series. All three leads are fantastic, the shootouts are tense, and the Morricone score ties everything together really well.

Franchise Reviews - A Fistful of Dollars

Since I don't have to be up in the morning, I figured that I'd start the reviews, beginning with A Fistful of Dollars - Sergio Leone's unofficial remake of Akira Kurosawa's Yojimbo.

Clint Eastwood makes his first appearance as the eponymous Man with No Name (sometimes referred to as Joe), who has found himself at the border town of San Miguel. Upon arrival, "Joe" finds himself in the middle of a conflict between to rival smuggler gangs: The Rojos and the Baxters. He soon decides to play off the two gangs against each other in order to profit from it. Unfortunately, his plan gets complicated when he sticks his neck out for the beautiful Marisol - the reluctant mistress of Ramon Rojo, the youngest but most intelligent and ruthless of the Rojo brothers, played by Gian Maria Volonte.

Eastwood is fantastic. He says very little, but when he does speak, he commands presence. When he isn't speaking, he's delivering hard stares and out-drawing his opponents. Volonte is also great as Ramon - but he really shines in the sequel.

Because the film was originally Italian, most of the actors are dubbed, and the dubbing isn't always done well - but that's fair enough. It was the 60s after all.

All in all, it's a good film, but probably the weakest of the trilogy. This is a series where the sequels do get better.

Franchise Reviews/Western Weekend - The Dollars Trilogy

Well, it's Easter. And I've got a four day weekend thanks to an undead carpenter and an egg-laying mammal. Since it involves time away from work, I'm fine with that.

Anyway, I figured I'd take the opportunity to look at Sergio Leone's Man with No Name Trilogy - the Spaghetti Westerns which made a star out of Clint Eastwood. Time to contrast the idealistic look of Hollywood's old west with Italy's cynical look, depicting the west as a violent and immoral place. Granted, they're both equally romanticised depictions, but anyway.

I'll see you soon to start the first review.