You may know Rhod Serling as host and creator of "The Dusk Zone", the famous series of an anthology of science that has become a plan for the genre Because it first aired in 1959. The inclusion of Serling in the show can only be described as intimate, because he personally withdrew from his experience as a screenwriter and chose to work with like -minded science from within. All 156 episodes of "Dusk Zone" argue as a moral play with a turnaroundAlthough topics range from stable criticism of capitalism to personal rumors of losing innocence in childhood. There are also, of course, the main genres of tropes dumped in good measure, including conscientious prophecies, travel time travel, foreign invasions and man-made dichotomy. However, each of these different stories culminates in the title of twilight, which appears as a criminal space that defies human understanding and pushes us to unpleasant truths.

Serling's talents as a screenwriter, who was careful about the nuance, could be followed by his early career efforts, including the 1955 episode "Models", national television from the Kraft TV Theater. The "models" have proven to be a life -changing for Serling, as it is stated in the spotlight of its ability to retire powerful narratives that suit the medium, a kind where thematic depth and attractiveness for fun can exist side by side. "Models" is a drama of complicated dynamics of corporate power and promises a caliber of writing that can benefit from the television media at the time. And this ended to happen because Serling was soon flooded with projects that were better Because His involvement, which also included several novels, performances and radio scripts.

Sergling also wrote film scripts, as he did for Western since 1958, the "Saddy Wind", starring Robert Taylor, Jululey London and Johnon Casetes. Although this movie by Robert Parish-Held is not a genre genre of any part of the imaginationIt is a solid story of two brothers who end up entangled with problems bigger than they expected. Unfortunately, the film did not do well in the box office and ended up making MGM a lot of money (308,000 USD to be accurate).

In the "Saddle of the Wind", retired armed armed Steve Sinclair (Taylor) put his days with his gun in many ways. Steve feels ill with the very idea of forcible bloodshed now and has chosen to spend the remaining days as a rancer in an unusual community. This picture of idyllic bliss has been shaken after his younger brother Tony (Kassavetti) falls unannounced, brought with him the girl Anoan (London), along with the whirlwind of distress. What's worse, Tony is more challenging than I would like to be Steve, as the first one is seen climbing the front yard to show off her fast drawing skills. Fortunately, no one was hurt this time.

Steve-Tony's dynamics is the heart of the film because they are closely entangled despite their significantly different approach to life. Steve, who was formerly a confederation soldier, perceives every action through the lens of reconciliation, as he desperately wants to shed his past as snakes and accept a quieter, softer philosophy. Tony's loud, violent machine actively prevents this redemption arc, citing impulses that Steve thought left behind in the past. When the bodies begin to fall, it becomes clear that the "wind saddle" is for the compulsivity of evil and our desperate efforts to pretend differently.

No matter how harshly the empathetic Steve is to his brother, Tony becomes an architect of his own destruction as he decides he is justified to seek lives and begins to treat his six-shooter as a toy. It is too late to realize that he is not the only person to have a gun, that there will always be other men like him who shoot first and later ask questions. This frenetic conflict is not a thematically consistent, but it is exciting enough to keep your fingers. Serling injects original tension and pathos in this story and you can feel these emotions remain even after the screen fades to black.