The eighties of the 1980s were a lean magic for Western fans. After the critical and commercial disaster of Michael Timino's "Heavenly Gate", the Hollywood study were understandably unwilling to raise a lot of money in the Moribund genre and the notable horse operas were a little and far away. With the likes of "Silverdo", "Young Guns" and "Three Amigo!" To choose, Catherine Bigelow's "nearest dark" was pretty much the best of the group, but it was just as modern vampire as a typical Otter. The classic Western film looked seriously long in the tooth, and would not bloom again until Kevin Costner was resurrected with his "dances with wolves".

Then, of course, Clint Eastwood had. If there was ever a director and a starfish that could use the trend, it was probably The best actor for the western film to dominate the screen. By the mid -1980s, Clint was synonymous with the genre for about 25 years: making an early name for herself in the TV show "Rawhide;" Recording international fame in "Sergio Leone's Dollar Trilogy". Merging his man with a persona name with dirty Harry in "Koagan bluff;" Playing singers cowboy in "Paint a wagon;" And it offers repetitions of his act Gunslinger in films such as "Two Sister Sara", "High Plannes Drifter" and "The Oseosi Wells conclusion". Then, in 1985, he put a supernatural turning on things with a "pale driver".

The story may sound known. A small range of gold prospectors in the remote mountains of California fall a foul of greedy mining king, which Lahood (Richard Disart), who wants to move them away so that he can look for the country for himself. After Lahood's ruthless gang terrorizes the camp, 14-year-old Megan Wheeler (Sydney Penny) is praying for a miracle. She gets one in the form of the mysterious preacher (Clint Eastwood), who rides in the city only in time to save her mother's supremor Hal Barrett (Michael Moriarti) from beating. Lahood reinforces the stakes by offering the prosperity ultimatum before calling Marshall Stockburn (Johnon Russell) and his deadly deputies to resolve things once and for all. But Stockburn also has a reason to be afraid, as he suspects that the preacher can be the man who killed him years ago. "Pale Driver" was a significant hit on the box office, and viewers with eagle would notice her story, wearing a striking resemblance to the 1950s classic "Jane".

Like many modern viewers, I found the way to Jane after seeing clips in Logan. I have always assumed that it is some pink old ether, but George Stevens' classic story is old -fashioned in the most positive sense and deserves its reputation as one of Best Western movies of all time. Alan Lad plays the title of character, a wanderer with a gun who swore to violence, but still packs his six scorer. He arrives at the home home of the OEO Elder (Van Hefflin), a farmer who lives a rare but happy existence with his wife Marian (Jeanan Arthur) and son Eyoi (Brandon Devilde). But the troubles are prepared; Avaricious Rancher Rufus Ryker (Emil Meyer) wants to drive elders and their home -made colleagues so he can use his country for his livestock. When the intimidation of his thugs is not working, Reeker escalates things by hiring Jackack Wilson, a notorious fast -drawing artist (Jackec Palance).

It is probably fair to say that anyone who watched Western film, or really "Logan", will know where "Jane" goes. What surprised me was how effective it was. The story is simple, but the characters are well drawn, and antagonism between Rankers and domestic works are in real way. Despite the harassment of Riker's men and a few strokes, no one is immediately activated. Reeker is even trying to hire an eld and Jane before things become really serious.

When the shooting starts, it's sudden, loud and finally. Director George Stevens wanted to show the audience a real horror of violence and he certainly does a great job. Only about a dozen shots were fired in the film, and every one hit at home. He recorded firearms in a trash can to emphasize his deafness and used wires to lift his actors backwards when shot. The film was before its time in this regard, and one particularly killed was as disturbing as any death I have seen in recent years.

Overall, "Jane" is a careful and deeply engaged film that impoverishes violence, while regretting admits that it is sometimes necessary at the old limit. It is a great shot, acting well, and the slow pace allows the drama to calm down. The only downside is that kid and his unusual voice-I felt like I was hitting the dumb button every time the little Eyoi Runior was on the screen.

"Peel driver" is not a remake of "Jane", but only to call him a homage. Clint Eastwood is a careful director and it is unlikely that he would not be aware of the relationships as he put his darker spin on a very similar story. In some senses, Eastwood's whole career in the genre has been a homage to previous films. It is fascinating to follow the links: Foron Ford influenced Akira Kurosawa, and in return his epics of Samurai of the 1950s inspired Sergio Leone's "trilogy" trilogy - especially " - especially" - especially "Fist of dollars"What copied" Yodzimbo "to the extent that the Japanese studio filed a lawsuit. As Eastwood's career has matured, his lonely guns in films like "High Plains Drifter" were rumors of his man without the name of the person. In Japan as a movie of Samurai.

As for the "Peel driver", it's fun to check the similarities to Jane. The basic story is essentially the same, with a mysterious stranger coming to the aid of a Podmoci group. Many of the beats are practically identical; The preacher stays with a family and hangs out with the figure of the father, and the two tie up as they try to move an awkward object - a stubborn tree in Jane and a big rock in Pale Driver. The guest is idolized by the child and has unexpected feelings between the mother and wandering. The supporting character was killed from a raised point of view, echoing the aforementioned murder in the previous film. Lastly, the preacher finds a way to faced only the cons of the last showdown before driving the young one who will appear after him.

"Peel driver" is not simply to tear Jane, however. Most Western are archetypal stories and gain their strength from closeness. Eastwood is deciding on a more unusual approach, shooting in winter shades than a lush technical to give the film a harder advantage. Loading a preacher with Bible and supernatural prevailing puts an emphasis on death rather than life. This important shift makes the "pale driver" a more violent and cynical film - there are more shots fired in the opening minutes of the entire "Jane", giving the impression that the deadly force is a status quo, not a last resort.