ramblin-jack
Joined May 2003
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ramblin-jack's rating
ROBERT REDFORD plays 'hunk' Halsy Knox, who demands and receives everything he desires except his self-respect. A God-given talent at motocross racing becomes his albatross in his quest to achieve what he believes is his destiny. Along the way are numerous characters of this hobby/religion's entourage including a gear-head named 'Little' (MICHAEL J. POLLARD). They all accommodate his every whim based on his good looks, charm and 'somewhat winning' first impression. It's not until later that an observant witness realizes that he has been duped by a 'con-man without a con' in Halsy's mission to nowhere.
Lots of motorcycle racing action and 60's introspective brings this one up to cult status. Redford is absolutely gorgeous in his appearance/role as a cad. Seems one-half the film has him bare chested! A goodly amount of nudity abounds (full-frontal LAUREN HUTTON, etc.) and if '70's film-liberalism disturbs you then I recommend Olsen twins films.
A GREAT soundtrack with songs by JOHNNY CASH and the TENNESSEE THREE, & CARL PERKINS! Some of the music was written by BOB Dylan.
Filmed on location in Antelope Valley, Ca, Sonoma County, Ca and Sears Point Raceway in San Francisco.
Postscript: "I have seen this film about ten times now and it ALWAYS leaves me thinking about it for days. RR chews up the scenery and gives a bravura performance as Halsy as he stretches his interpretation of the cad to subtle brilliance!"
Lots of motorcycle racing action and 60's introspective brings this one up to cult status. Redford is absolutely gorgeous in his appearance/role as a cad. Seems one-half the film has him bare chested! A goodly amount of nudity abounds (full-frontal LAUREN HUTTON, etc.) and if '70's film-liberalism disturbs you then I recommend Olsen twins films.
A GREAT soundtrack with songs by JOHNNY CASH and the TENNESSEE THREE, & CARL PERKINS! Some of the music was written by BOB Dylan.
Filmed on location in Antelope Valley, Ca, Sonoma County, Ca and Sears Point Raceway in San Francisco.
Postscript: "I have seen this film about ten times now and it ALWAYS leaves me thinking about it for days. RR chews up the scenery and gives a bravura performance as Halsy as he stretches his interpretation of the cad to subtle brilliance!"
Hendrik and Willi are co-owners of a cargo barge on the German River Havel. Goods are sent along the river's lifeline to the major ports of Germany. Rotterdam to Berlin and back again. Life is good on the river as far as it goes yet something is missing. Quick jump-offs in the towns along the way become habit. Loneliness can be baggage that we all pack unwittingly. Hendrik played by Carl Raddaz, realizes that real life is going by without them. Especially absent is the company of true female companionship. The river becomes a willing partner to the player who wishes to tempt fate for the rewards of life.
Fate draws a 'pat hand' when late one evening, from the moored barge, a pretty, young women is observed on a bridge ahead. Her lone lamp-lit silhouette showing against the background of night. Appearing distraught, she is crying. The men whisper she might end it all with one last step off the bridge and into cold eternity. Suddenly, she drops something into the black depths below, but by this time our bargemen are there, under the bridge, in their small dingy to retrieve the article. They observe the girl much closer. What to do?
For fate, in it's seeming randomness, allows a new chapter to unfold in three people's lives in post-war Germany. Their meeting becomes a driving gamble of need, and hope. The reward of human companionship, acceptance and the search for true happiness becomes a riddle these players must unravel only to discover that everyone are amateurs in this pageant. What are the mysterious steps required to win the battle over an almost predestined lonely future?
Director Helmut (The Devil's General) Kutner's allegorical tale is a canvas of light and shadow. Mixing pre-war German Industrial high-contrast themes with a kind of pre-natal Cinema Verite he presumes life's outward evidence of happiness is salted with an inner, lonely core which cannot be purged until the lessons of hope are proffered and dangled to the whole world to judge these volunteer competitors. Win or lose? Is the game worth the reward? You 'betcha!
Fate draws a 'pat hand' when late one evening, from the moored barge, a pretty, young women is observed on a bridge ahead. Her lone lamp-lit silhouette showing against the background of night. Appearing distraught, she is crying. The men whisper she might end it all with one last step off the bridge and into cold eternity. Suddenly, she drops something into the black depths below, but by this time our bargemen are there, under the bridge, in their small dingy to retrieve the article. They observe the girl much closer. What to do?
For fate, in it's seeming randomness, allows a new chapter to unfold in three people's lives in post-war Germany. Their meeting becomes a driving gamble of need, and hope. The reward of human companionship, acceptance and the search for true happiness becomes a riddle these players must unravel only to discover that everyone are amateurs in this pageant. What are the mysterious steps required to win the battle over an almost predestined lonely future?
Director Helmut (The Devil's General) Kutner's allegorical tale is a canvas of light and shadow. Mixing pre-war German Industrial high-contrast themes with a kind of pre-natal Cinema Verite he presumes life's outward evidence of happiness is salted with an inner, lonely core which cannot be purged until the lessons of hope are proffered and dangled to the whole world to judge these volunteer competitors. Win or lose? Is the game worth the reward? You 'betcha!
Three former criticisms of OPEN RANGE (not mine):
1) The villians are not defined/fleshed out.
Ans: I don't care, they are the antagonists who have who have cast the first stone and everyone in the story and audience knows it. That's all we need.
2) The film is overly long, with a too-long build-up.
Ans: Only for people used to cartoon action films.
3) Kostner's and Benning's characters fall into love too soon/easily.
Ans: Bull ---- Anyone one who believes this does not believe in 'love at first sight' and I feel sorry for you.
OPEN RANGE opens the door for more adult westerns, a term which was vogue in the heyday of TV westerns and of which people like me have waited far too long.
A must see.
1) The villians are not defined/fleshed out.
Ans: I don't care, they are the antagonists who have who have cast the first stone and everyone in the story and audience knows it. That's all we need.
2) The film is overly long, with a too-long build-up.
Ans: Only for people used to cartoon action films.
3) Kostner's and Benning's characters fall into love too soon/easily.
Ans: Bull ---- Anyone one who believes this does not believe in 'love at first sight' and I feel sorry for you.
OPEN RANGE opens the door for more adult westerns, a term which was vogue in the heyday of TV westerns and of which people like me have waited far too long.
A must see.