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Blindman the film year online Blindman le film 1971 en ligne Blindman en loading: o? regarder el motion picture en ligne? View Blindman year field office A blind, but deadly, gunman, is hired to escort fifty mail order brides to their miner husbands. His business partners double cross him, selling the women to bandit Domingo. Blindman heads into Mexico in pursuit.! BoxOFFICE Remark regarder Blindman en ligne [123-Film] Blindman! (1971) Regarder le motion picture en ligne Regardez les superproductions hollywoodiennes pr?f?r?ha sido et les films d'art et d'essai du monde entier. Parcourez notre series de movies et trouvez quelque selected ? regarder ce soir
Blindman 1971
Titre original: Blindman Sortie: 1971-11-15 Durée: 105 Minutes Score: 6.1 Genres: Western Etoiles:Langue originale: English Mots-clés:Synopsis:A blind, but deadly, gunman, is hired to escort fifty mail order brides to their miner husbands. His business partners double cross him, selling the women to bandit Domingo. Blindman heads into Mexico in pursuit.
Blindman synopsis
Blindman film, Regardez le film Blindman en ligne maintenant. tous les acteurs étoiles de marine Vincenzo Cerami, Stelvio Cipriani, Riccardo Pallottini, Ferdinando Baldi, Tony Anthony, Tony Anthony, Tony Anthony, Saul Swimmer, Pier Giovanni Anchisi. A blind, but deadly, gunman, is hired to escort fifty mail order brides to their miner husbands. His business partners double cross him, selling the women to bandit Domingo. Blindman heads into Mexico in pursuit.. Blindman synopsis film complet Blindman 1971 Films HD, Film complet.
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Film Blindman 1971 streaming complet vf vos ~ Blindman streaming Film complet vf. Blindman regars Film avec soustitresanais gratuitement. Regaz un film en ligne ou regaz les meilleures vidos hd gratuites sur votre ordinateur bureau ordinateur portable ordinateur tablette i-phone i-pad mac master et plus encore. Vous pouvez regarder le film complet de nos ranges Blindman est un film de 1971 langue 1971 réalisé level Vincenzo Cerami, Stelvio Cipriani, Riccardo Pallottini, Ferdinando Baldi, Tony Anthony, Tony Anthony, Tony Anthony, Saul Swimmer, Pier Giovanni Anchisi et produit level ABKCO Music and Records, Primex, 20th Century Fox. Ce film satisfied en vedette Tony Anthony, Ringo Starr, Lloyd Battista, Magda Konopka, Raf Baldassarre, Marisa Solinas, Franz von Treuberg, David Dreyer, Gaetano Scala, Agneta Eckemyr. Le film est sorti p 1971-11-15. Avant sa creation, il y avait un très bon acteur qui a dit que le film serait joué level Vincenzo Cerami, Stelvio Cipriani, Riccardo Pallottini, Ferdinando Baldi, Tony Anthony, Tony Anthony, Tony Anthony, Saul Swimmer, Pier Giovanni Anchisi et réalisé level Vincenzo Cerami, Stelvio Cipriani, Riccardo Pallottini, Ferdinando Baldi, Tony Anthony, Tony Anthony, Tony Anthony, Saul Swimmer, Pier Giovanni Anchisi. Dans 1971-11-15, ils ont mentionné ABKCO Music and Records, Primex, 20th Century Fox. , Bandes Annonces et affiches lancées dans 1971-11-15 Ce site propose des Film nouveaux et anciens, des teasers et des aperçus pour tous les meilleurs vieux Film. Abonnez-vous pour rester dans les cinémas et votre d e streaming préférée.
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A Gunfight the motion picture year online A Gunfight le film 1971 en ligne A Gunfight en loading: o? regarder el motion picture en ligne? View A Gunfight year pack office Will Tenneray and Abe Cross are two aging, famous gunfighters, both in need of money. Cross rides into town, having failed as a gold prospector. His reputation is such that everyone expects him to shoot it out with Tenneray, who capitalizes on his legend by working at the saloon to "sucker fools into buying drinks." To the town's surprise, Tenneray and Cross take a liking to one another. There is no hostility between them whatsoever.Tenneray is desperate for money, however. He comes up with the idea to stage a duel to the death in a bullfight arena, with the ticket proceeds going to the winner. Unfortunately, by killing Cross, he reasons to Nora, his wife, "I could lose my best friend." The actual gunfight is shot in a low-key and unromanticised fashion, and is over in a couple of seconds. In an extended fantasy sequence near the end, the widow of the defeated gunfighter imagines what might have happened if her husband had won.! BoxOFFICE Remark regarder A Gunfight en ligne [123-Video] A Gunfight! (1971) Regarder le movie en ligne Regardez les superproductions hollywoodiennes pr?f?r?sera et les films d'art et d'essai du monde entier. Parcourez notre series de motion pictures et trouvez quelque selected ? regarder ce soir
A Gunfight 1971
Titre original: A Gunfight Sortie: 1971-08-25 Durée: 89 Minutes Score: 6.2 Genres: Western Etoiles:Langue originale: English, Magyar Mots-clés:Synopsis:Will Tenneray and Abe Cross are two aging, famous gunfighters, both in need of money. Cross rides into town, having failed as a gold prospector. His reputation is such that everyone expects him to shoot it out with Tenneray, who capitalizes on his legend by working at the saloon to "sucker fools into buying drinks." To the town's surprise, Tenneray and Cross take a liking to one another. There is no hostility between them whatsoever.Tenneray is desperate for money, however. He comes up with the idea to stage a duel to the death in a bullfight arena, with the ticket proceeds going to the winner. Unfortunately, by killing Cross, he reasons to Nora, his wife, "I could lose my best friend." The actual gunfight is shot in a low-key and unromanticised fashion, and is over in a couple of seconds. In an extended fantasy sequence near the end, the widow of the defeated gunfighter imagines what might have happened if her husband had won.
A Gunfight synopsis
A Gunfight film, Regardez le film A Gunfight en ligne maintenant. tous les acteurs étoiles de marine Kirk Douglas, Darrell Silvera, Harold Jack Bloom, Harold Jack Bloom, David M. Walsh, Laurence Rosenthal, Tambi Larsen, Bill Mosher, Saul Holiff, Lamont Johnson. Will Tenneray and Abe Cross are two aging, famous gunfighters, both in need of money. Cross rides into town, having failed as a gold prospector. His reputation is such that everyone expects him to shoot it out with Tenneray, who capitalizes on his legend by working at the saloon to "sucker fools into buying drinks." To the town's surprise, Tenneray and Cross take a liking to one another. There is no hostility between them whatsoever.Tenneray is desperate for money, however. He comes up with the idea to stage a duel to the death in a bullfight arena, with the ticket proceeds going to the winner. Unfortunately, by killing Cross, he reasons to Nora, his wife, "I could lose my best friend." The actual gunfight is shot in a low-key and unromanticised fashion, and is over in a couple of seconds. In an extended fantasy sequence near the end, the widow of the defeated gunfighter imagines what might have happened if her husband had won.. A Gunfight synopsis film complet A Gunfight 1971 Films HD, Film complet. Whoever wins loses.
A Gunfight is directed by Lamont Johnson and written by Harold Jack Bloom. It stars Kirk Douglas, Johnny Cash, Jane Alexander, Karen Black and Raf Vallone. Music is by Laurence Rosenthal and cinematography by David Walsh.
Will Tenneray (Douglas) and Abe Cross (Cash) are two ageing gunfighters who after meeting each other in town hit it of straight away and actually like and respect each other. However, with both men in need of money and the whole town intrigued as to who would win in a gunfight between them, Tenneray hits upon the idea of the two of them having the gunfight and selling tickets to the event, with the winner receiving the ticket proceeds…
It was the first mainstream American film to be financed by American Indians—the Jicarilla Apaches—but this in now way was a propaganda move since the narrative has nothing to do with Native Americans. It's a most unusual Western in a lot of ways, off beat and deliberately played for fun at times, yet it pulses with dark thematics involving the human condition. Stripped bare is the fickle value of celebrity status, deftly cloaked with the ignorant blood-lust of a paying public.
Director Johnson keeps the pacing smooth as we get to know both men and watch their relationship unfold. All the while we are getting a grasp on the townsfolk in general, while the two ladies of the men's world are impacting greatly due to the sensitive screenplay. All roads lead to the ironic venue of a bullfighting arena across the border, where a full house of paying patrons come to see one of the men die. Whoever that is doesn't really matter, the caustic insertion of a dream sequence at film's end leaves us in no doubt that the winner really hasn't won at all.
With great performances from Douglas and Alexander, and good ones from Cash and Black, film also holds up well on the acting front. But the real stars here are Johnson and Bloom, for they have produced a clever picture that doesn't over reach itself by trying to be cerebral. It deserves to be better known and appraised. 7.5/10
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Film A Gunfight 1971 streaming complet vf vos ~ A Gunfight streaming Film complet vf. A Gunfight regars Film avec soustitresanais gratuitement. Regaz un film en ligne ou regaz les meilleures H D 1080p gratuites sur ordinateur agency ordinateur portable ordinateur tablette i-phone ipad mac pro et plus encore. Vous pouvez regarder le film complet de nos collections A Gunfight est un film d e 1971 langue 1971 réalisé par Kirk Douglas, Darrell Silvera, Harold Jack Bloom, Harold Jack Bloom, David M. Walsh, Laurence Rosenthal, Tambi Larsen, Bill Mosher, Saul Holiff, Lamont Johnson et produit par Paramount, Joel Productions, Harvest Pictures, Thoroughbred Productions. C E film satisfied en vedette Johnny Cash, Kirk Douglas, Jane Alexander, Karen Black, Dana Elcar, Robert J. Wilke, Keith Carradine, Eric Douglas. Le film est sorti de 1971-08-25. Avant sa production, il y avait un très bon acteur qui a dit que le picture serait joué par Kirk Douglas, Darrell Silvera, Harold Jack Bloom, Harold Jack Bloom, David M. Walsh, Laurence Rosenthal, Tambi Larsen, Bill Mosher, Saul Holiff, Lamont Johnson et réalisé level Kirk Douglas, Darrell Silvera, Harold Jack Bloom, Harold Jack Bloom, David M. Walsh, Laurence Rosenthal, Tambi Larsen, Bill Mosher, Saul Holiff, Lamont Johnson. Dans 1971-08-25, ils ont mentionné Paramount, Joel Productions, Harvest Pictures, Thoroughbred Productions. Whoever wins loses.
A Gunfight is directed by Lamont Johnson and written by Harold Jack Bloom. It stars Kirk Douglas, Johnny Cash, Jane Alexander, Karen Black and Raf Vallone. Music is by Laurence Rosenthal and cinematography by David Walsh.
Will Tenneray (Douglas) and Abe Cross (Cash) are two ageing gunfighters who after meeting each other in town hit it of straight away and actually like and respect each other. However, with both men in need of money and the whole town intrigued as to who would win in a gunfight between them, Tenneray hits upon the idea of the two of them having the gunfight and selling tickets to the event, with the winner receiving the ticket proceeds…
It was the first mainstream American film to be financed by American Indians—the Jicarilla Apaches—but this in now way was a propaganda move since the narrative has nothing to do with Native Americans. It's a most unusual Western in a lot of ways, off beat and deliberately played for fun at times, yet it pulses with dark thematics involving the human condition. Stripped bare is the fickle value of celebrity status, deftly cloaked with the ignorant blood-lust of a paying public.
Director Johnson keeps the pacing smooth as we get to know both men and watch their relationship unfold. All the while we are getting a grasp on the townsfolk in general, while the two ladies of the men's world are impacting greatly due to the sensitive screenplay. All roads lead to the ironic venue of a bullfighting arena across the border, where a full house of paying patrons come to see one of the men die. Whoever that is doesn't really matter, the caustic insertion of a dream sequence at film's end leaves us in no doubt that the winner really hasn't won at all.
With great performances from Douglas and Alexander, and good ones from Cash and Black, film also holds up well on the acting front. But the real stars here are Johnson and Bloom, for they have produced a clever picture that doesn't over reach itself by trying to be cerebral. It deserves to be better known and appraised. 7.5/10, bandes-annonces et affiches lancées dans 1971-08-25 Ce site propose des Film nouveaux et anciens, des teasers et des aperçus pour tous les meilleurs vieux Film. Abonnez-vous pour rester à jour sur tout ce qui arrive dans et votre d e streaming préférée.
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A Gunfight absorbs significantly a lot more than the film's top ranking at the time of 89 Minutes. This accomplishment also places the film A Gunfight you should see to see A Gunfight absorbe furthermore que le meilleur classement du Film au moment de la projection. Cette réalisation met également le film A Gunfight que vous devez regarder à regarder. Will Tenneray and Abe Cross are two aging, famous gunfighters, both in need of money. Cross rides into town, having failed as a gold prospector. His reputation is such that everyone expects him to shoot it out with Tenneray, who capitalizes on his legend by working at the saloon to "sucker fools into buying drinks." To the town's surprise, Tenneray and Cross take a liking to one another. There is no hostility between them whatsoever.Tenneray is desperate for money, however. He comes up with the idea to stage a duel to the death in a bullfight arena, with the ticket proceeds going to the winner. Unfortunately, by killing Cross, he reasons to Nora, his wife, "I could lose my best friend." The actual gunfight is shot in a low-key and unromanticised fashion, and is over in a couple of seconds. In an extended fantasy sequence near the end, the widow of the defeated gunfighter imagines what might have happened if her husband had won. Aimeriez-vous que Streaming Complet VF 1971 En Ligne A Gunfight soit sorti le 1971? Voici donc le meilleur endroit. Whoever wins loses.
A Gunfight is directed by Lamont Johnson and written by Harold Jack Bloom. It stars Kirk Douglas, Johnny Cash, Jane Alexander, Karen Black and Raf Vallone. Music is by Laurence Rosenthal and cinematography by David Walsh.
Will Tenneray (Douglas) and Abe Cross (Cash) are two ageing gunfighters who after meeting each other in town hit it of straight away and actually like and respect each other. However, with both men in need of money and the whole town intrigued as to who would win in a gunfight between them, Tenneray hits upon the idea of the two of them having the gunfight and selling tickets to the event, with the winner receiving the ticket proceeds…
It was the first mainstream American film to be financed by American Indians—the Jicarilla Apaches—but this in now way was a propaganda move since the narrative has nothing to do with Native Americans. It's a most unusual Western in a lot of ways, off beat and deliberately played for fun at times, yet it pulses with dark thematics involving the human condition. Stripped bare is the fickle value of celebrity status, deftly cloaked with the ignorant blood-lust of a paying public.
Director Johnson keeps the pacing smooth as we get to know both men and watch their relationship unfold. All the while we are getting a grasp on the townsfolk in general, while the two ladies of the men's world are impacting greatly due to the sensitive screenplay. All roads lead to the ironic venue of a bullfighting arena across the border, where a full house of paying patrons come to see one of the men die. Whoever that is doesn't really matter, the caustic insertion of a dream sequence at film's end leaves us in no doubt that the winner really hasn't won at all.
With great performances from Douglas and Alexander, and good ones from Cash and Black, film also holds up well on the acting front. But the real stars here are Johnson and Bloom, for they have produced a clever picture that doesn't over reach itself by trying to be cerebral. It deserves to be better known and appraised. 7.5/10, Bandes Annonces et affiches lancées dans 1971-08-25 Le film est Will Tenneray and Abe Cross are two aging, famous gunfighters, both in need of money. Cross rides into town, having failed as a gold prospector. His reputation is such that everyone expects him to shoot it out with Tenneray, who capitalizes on his legend by working at the saloon to "sucker fools into buying drinks." To the town's surprise, Tenneray and Cross take a liking to one another. There is no hostility between them whatsoever.Tenneray is desperate for money, however. He comes up with the idea to stage a duel to the death in a bullfight arena, with the ticket proceeds going to the winner. Unfortunately, by killing Cross, he reasons to Nora, his wife, "I could lose my best friend." The actual gunfight is shot in a low-key and unromanticised fashion, and is over in a couple of seconds. In an extended fantasy sequence near the end, the widow of the defeated gunfighter imagines what might have happened if her husband had won.
A Gunfight 1971 Streaming VF 1971 Film Complet VOSTFR
Vous pouvez regarder le film complet de nos collections. Ce site propose des Film nouveaux et anciens, des teasers et des aperçus pour tous les meilleurs vieux Film Abonnez-vous pour rester dans les cinémas et votre plate-forme de streaming préférée. A Gunfight absorbe as well as que le meilleur classement du Film au moment de la projection. Cette réalisation fulfilled également le film A Gunfight que vous devez regarder à regarder A Gunfight Streaming VF 1971 Film Complet VOSTFR 1971 En Streaming VF Complet Qualité HD Gratuit sans illimité ~ A Gunfight Streaming VF 1971 Film Complet VOSTFR A Gunfight Streaming Vf Complet En Français 1971 Whoever wins loses.
A Gunfight is directed by Lamont Johnson and written by Harold Jack Bloom. It stars Kirk Douglas, Johnny Cash, Jane Alexander, Karen Black and Raf Vallone. Music is by Laurence Rosenthal and cinematography by David Walsh.
Will Tenneray (Douglas) and Abe Cross (Cash) are two ageing gunfighters who after meeting each other in town hit it of straight away and actually like and respect each other. However, with both men in need of money and the whole town intrigued as to who would win in a gunfight between them, Tenneray hits upon the idea of the two of them having the gunfight and selling tickets to the event, with the winner receiving the ticket proceeds…
It was the first mainstream American film to be financed by American Indians—the Jicarilla Apaches—but this in now way was a propaganda move since the narrative has nothing to do with Native Americans. It's a most unusual Western in a lot of ways, off beat and deliberately played for fun at times, yet it pulses with dark thematics involving the human condition. Stripped bare is the fickle value of celebrity status, deftly cloaked with the ignorant blood-lust of a paying public.
Director Johnson keeps the pacing smooth as we get to know both men and watch their relationship unfold. All the while we are getting a grasp on the townsfolk in general, while the two ladies of the men's world are impacting greatly due to the sensitive screenplay. All roads lead to the ironic venue of a bullfighting arena across the border, where a full house of paying patrons come to see one of the men die. Whoever that is doesn't really matter, the caustic insertion of a dream sequence at film's end leaves us in no doubt that the winner really hasn't won at all.
With great performances from Douglas and Alexander, and good ones from Cash and Black, film also holds up well on the acting front. But the real stars here are Johnson and Bloom, for they have produced a clever picture that doesn't over reach itself by trying to be cerebral. It deserves to be better known and appraised. 7.5/10 .
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The Lawless Nineties the video year online The Lawless Nineties le film 1936 en ligne The Lawless Nineties en loading: o? regarder el movie en ligne? View The Lawless Nineties year pack office Federal Agents Tipton and Bridger have been sent to Wyoming where the vote on statehood is imminent. Plummer and his gang are out to make sure the vote fails. When Plummer's men kill Bridger, Tipton fights on. He sends fake telegrams that trap some of Plummer's men. Then he organizes the ranchers and on election day they descend on the town barricaded by Plummer's gang.! BoxOFFICE Opinion regarder The Lawless Nineties en ligne [123-Film] The Lawless Nineties! (1936) Regarder le movie en ligne Regardez les superproductions hollywoodiennes pr?f?r?sera et les films d'art et d'essai du monde entier. Parcourez notre selection de motion pictures et trouvez quelque selected ? regarder ce soir
The Lawless Nineties 1936
Titre original: The Lawless Nineties Sortie: 1936-02-15 Durée: 55 Minutes Score: 5.5 Genres: Western Etoiles:Langue originale: English Mots-clés:Synopsis:Federal Agents Tipton and Bridger have been sent to Wyoming where the vote on statehood is imminent. Plummer and his gang are out to make sure the vote fails. When Plummer's men kill Bridger, Tipton fights on. He sends fake telegrams that trap some of Plummer's men. Then he organizes the ranchers and on election day they descend on the town barricaded by Plummer's gang.
The Lawless Nineties synopsis
The Lawless Nineties film, Regardez le film The Lawless Nineties en ligne maintenant. tous les acteurs étoiles de marine Joseph F. Poland, Joseph Kane, Scott Pembroke. Federal Agents Tipton and Bridger have been sent to Wyoming where the vote on statehood is imminent. Plummer and his gang are out to make sure the vote fails. When Plummer's men kill Bridger, Tipton fights on. He sends fake telegrams that trap some of Plummer's men. Then he organizes the ranchers and on election day they descend on the town barricaded by Plummer's gang.. The Lawless Nineties synopsis film complet The Lawless Nineties 1936 Films HD, Film complet.
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The Lawless Nineties est un film d e 1936 langue 1936 réalisé level Joseph F. Poland, Joseph Kane, Scott Pembroke et produit par Republic Pictures. Ce film fulfilled en vedette John Wayne, Ann Rutherford, Harry Woods, George 'Gabby' Hayes, Al Bridge, Fred 'Snowflake' Toones, Etta McDaniel, Tom Brower, Lane Chandler, Cliff Lyons. Le film est sorti p 1936-02-15. Avant sa creation, il y avait un très bon acteur qui a dit que le film serait joué par Joseph F. Poland, Joseph Kane, Scott Pembroke et réalisé level Joseph F. Poland, Joseph Kane, Scott Pembroke. Dans 1936-02-15, ils ont mentionné Republic Pictures. , Bandes Annonces et affiches lancées dans 1936-02-15 Ce site propose des Film nouveaux et anciens, des teasers et des aperçus pour tous les meilleurs vieux Film. Abonnez-vous pour rester à jour sur tout ce qui arrive dans et votre plate-forme de streaming préférée.
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The Rider the motion picture year online The Rider le film 2017 en ligne The Rider en loading: o? regarder el motion picture en ligne? Check out The Rider year package office Once a rising star of the rodeo circuit, and a gifted horse trainer, young cowboy Brady is warned that his riding days are over after a horse crushed his skull at a rodeo. In an attempt to regain control of his own fate, Brady undertakes a search for a new identity and what it means to be a man in the heartland of the United States.! BoxOFFICE Opinion regarder The Rider en ligne [123-Film] The Rider! (2017) Regarder le movie en ligne Regardez les superproductions hollywoodiennes pr?f?r?sera et les films d'art et d'essai du monde entier. Parcourez notre selection de motion pictures et trouvez quelque select ? regarder ce soir
The Rider 2017
Titre original: The Rider Sortie: 2017-05-20 Durée: 105 Minutes Score: 7.4 Genres: Drama, Western Etoiles:Langue originale: English Mots-clés:Synopsis:Once a rising star of the rodeo circuit, and a gifted horse trainer, young cowboy Brady is warned that his riding days are over after a horse crushed his skull at a rodeo. In an attempt to regain control of his own fate, Brady undertakes a search for a new identity and what it means to be a man in the heartland of the United States.
The Rider synopsis
The Rider film, Regardez le film The Rider en ligne maintenant. tous les acteurs étoiles de marine Bert Hamelinck, Nathan Halpern, Mollye Asher, Joshua James Richards, Chloé Zhao, Chloé Zhao, Chloé Zhao, Alex O'Flinn, Corentin De Saedeleer, Michael Sagol. Once a rising star of the rodeo circuit, and a gifted horse trainer, young cowboy Brady is warned that his riding days are over after a horse crushed his skull at a rodeo. In an attempt to regain control of his own fate, Brady undertakes a search for a new identity and what it means to be a man in the heartland of the United States.. The Rider synopsis film complet The Rider 2017 Films HD, Film complet. **_Honest, raw, and respectful_**
> _I never really had a choice to be a cowboy. It was just in my blood. It was the way my family lived; grew up on horses my whole life. I would ride a horse all by myself when I was about a year-and-a-half. I don't really know anything else. I wouldn't have it any other way._
- Brady Jandreau; "Interview: Rodeo cowboy Brady Jandreau talks life before and after The Rider" (Sari Cohen); _Axs.com_ (August 31, 2018)
Partly an elegy for a dissipating way of life, partly an examination of the self-destructive components of contemporary masculinity, and partly a deconstruction of the iconography of the American frontier, _The Rider_ is the second film from Chinese-American writer/director Chloé Zhao, and is intimately tied to her debut, _Songs My Brothers Taught Me_ (2015). Set in the same location in South Dakota, featuring the same _milieu_, and covering some of the same thematic ground, _The Rider_ also owes a more practical debt to _Songs_. When she was researching that film, Zhao met rodeo rider Brady Jandreau, who taught her how to ride a horse. Promising him she would cast him in one of her subsequent films, Zhao soon learned that Jandreau had sustained a serious cranial injury in a rodeo accident, and been told by doctors that he must give up the only way of life he had ever known, as another blow to the head could kill him. Inspired by his story, Zhao wrote _The Rider_, a loosely fictionalised version of Jandreau's experiences, in which she cast entirely non-professional actors, including the real Jandreau, his father, sister, and several of his friends, all playing versions of themselves. The result is a semi-fictional docudrama, and one of the finest films of the year.
Set on the Pine Ridge Reservation in South Dakota, Brady Blackburn (Brady Jandreau) lives just above the poverty line with his father Wayne (Tim Jandreau) and his sister Lilly (Lilly Jandreau), who suffers from autism. Several months previously, Brady suffered a near-fatal head injury after falling from a bronco, which has left him with a huge scar on the side of his head, and ongoing neurological damage causing severe seizures in his right hand. Warned by doctors that if he attempts to ride again, a single innocuous fall could kill him, Brady finds his very sense of self challenged as he attempts to function in a society where every man lives by the maxim of "_ride or die_". No longer the rugged cowboy he believed himself to be, Brady takes a job stacking shelves in a local supermarket. However, feeling his life has become deeply unfulfilling, Brady begins to find the call of the rodeo increasingly difficult to ignore.
_The Rider_ is most definitely not a plot-driven film. Consisting almost entirely of a series of vignettes showing Brady going about his day, rather than a well-thought-out cause-and-effect narrative, Zhao also shuns traditional character arcs, and expressive, writerly dialogue. However, this is not a criticism; rather, the form perfectly mirrors the content. Humanistic without resorting to mawkish sentimentality, empathetic without employing cheap emotional manipulation, and honest without rushing to judgement, although the film certainly does critique Brady's desire to ride again, so too does it respect the fact that this is the only thing which has ever given his life meaning. Zhao's superbly balanced screenplay is both tactful and subtle, graceful and understated, exhibiting a rare emotional probity that goes hand-in-hand with its expertly realised naturalistic style.
In depicting Brady's struggle with his new life, Zhao is able to simultaneously romanticize and demythologise the role of the cowboy in the contemporary United States. As the story progresses, the film comes more and more to express a sense of disillusionment with the lifestyle of Brady and his friends, with their "damn the torpedoes" attitude becoming increasingly exposed as bravado. Part of this is the theme of the rodeo itself. So eloquently panegyrised in the early parts of the film, the rodeo is also presented as leading to physical ruin and mental anguish. Indeed, one of the film's primary motifs is that of injuries sustained whilst riding. The men who espouse this lifestyle say things such as, "_Cowboy up. Grit your teeth. Be a man_", (spoken by Wayne), "_rub some dirt in it_" (advice offered on how to recover from injury), "_ride through the pain_", and, "_head and ribs, all the same to a cowboy_". Brady's friends also point out that if they can't ride, they'll have little option but to "_become farmers_", a road none wish to take.
In relation to this, it's extremely telling that literally every male Brady meets, from young boys to elderly men, all express their desire that he start riding again, although many of them know why he stopped. On the other hand, one of the few female characters tells him pointedly, "_problem with you boys, you don't like to get your pride hurt_". However, unlike most of his friends, who urge him to shake off the injury, Brady is self-aware enough to admit, "_you know you'll get hurt, but you don't ever think you'll get hurt like that_". But although he is able to admit that, by contrast, he is he unable to shake his love of riding, especially the romanticised nature of such, telling Lilly towards the end of the film, "_God gives each of us a purpose. For a horse, it's to run across the prairie. For a cowboy, it's to ride_". Brady and his friends are personifications of the ruggedness of the American West, and the film uses them to facilitate a deconstruction of the notions of contemporary masculinity which they represent.
That Brady is indeed a cowboy, and sees himself as such, is emphasised several times. For example, the film makes us aware that Pine Ridge was once the frontier, but is now a dying backwater, where everybody who can leave has already left. This is also where the theme of respect comes in – the self-destructive nature of the life Brady and friends live is more than simply an adrenaline addiction. Rather it offers them the validation which they are unable to find anywhere else. Yes, they see themselves as modern day-cowboys, in an age where cowboys serve no function – their clothes are classic movie cowboy (stetson, plaid shirt, dirty jeans, cowboy boots, bolo ties), and many of them (including Brady) even wear six-shooters. But this is the only life they have known, and whilst the film leaves the audience in little doubt that this lifestyle can lead to ruin, so too does it ensure the viewer knows that Zhao has the deepest respect for these guys, depicting, as it does, the kind of desperation and limited choices that leave a young man with only one route, a route which often overrides any common sense he may have.
An important distinction to be made here is that, yes, the film is about masculinity, but it is not about "toxic masculinity". Never once does it feel like Zhao is looking down on or satirising Brady and his friends. Rather, she's criticising the situation in which they find themselves; forced to live a life of bluster and posturing. But Zhao makes sure the audience understands at all times the honour and tradition to which they subscribe.
The most telling example of this is Lane (Lane Scott). As with the real-life Brady, Lane was a celebrated rodeo with a reputation for riding broncos no one else would touch. The embodiment of machismo, with a devil-may-care attitude, we see Lane at the height of his popularity via YouTube videos, adored by the women in the audience and envied by the men. However, as in the film, the real Lane is now almost completely paralysed, capable of communicating only by signing with his left hand, and living permanently in a care facility. The only difference between the real-life Lane and his fictional counterpart is that in reality, he was paralysed in a car crash, whereas in the film it was via riding. This differentiation is telling as it speaks to Zhao's thematic intent. However, as with the other riders, Lane is presented with a great deal of reverence, and never does it feel like the film is saying, "look at what the rodeo did to this guy; he must be a total idiot."
In a sense, whilst the film partially recalls John Huston's _The Misfits_ (1961), its real thematic precursor is Darren Aronofsky's _The Wrestler_ (2008), an examination of male pride working against common sense, of professional dedication, of machoism gone awry. As with _The Wrestler_, the story of _The Rider_ is archetypal. _The Wrestler_ was about wrestling, but it could have been about any sport, and _The Rider_ is even more universal. Yes, it too could have been about any sport, but it could also have been about any environ in which a young male tries to balance the dangers of what he does with the possibility of some kind of reward (whether financial or spiritual) at the end of it all – a young bank robber up against a tough and determined cop (to quote Michael Mann's _Heat_ (1995), "_risk versus reward_"); a young boxer hoping he can make a better life for himself with just a couple more fights; a drug dealer hoping to stay off the radar of the drug lord he's crossed; a town where all the men work in the mines, or in a steel mill, or on a rig, and a young man joins the workforce despite knowing the risks involved.
Looking at things aesthetically, the film opens with a shot of a horse during a storm, followed by loud thunder. The immediate impression is one of almost elemental forces – two extremes of nature coming together. This is immediately contrasted with Brady waking up and heading into his dingy bathroom to pluck off the staples holding the bandage on his still raw head wound. Thus, in just two shots, Zhao sets up the entire theme of the film – poetic rhetoric and romantic myths are all very well and good, but day to day mundanity can so often get in the way.
Elsewhere, the centrepiece of the film, and probably the most beautiful sequence, is when Brady decides the only opportunity of which he can avail to allow him to stay around horses without risking his life is to break in young broncos. The single-take shot where he breaks in an "untrainable" horse is searingly beautiful in its simplicity and elegance. The lack of edits gives it an unmanipulated emotional sense, whilst also meaning there can be no cheating – we're really watching Brady Jandreau break in a stubborn horse. The gentle approach he employs, the constant reassurances to the animal, the way he holds the rope, how he gets the horse used to someone on its back without actually getting all the up, his grace and intuition, his confidence; the totality is, simply put, achingly perfect. What we are seeing obviously comes from a deep natural inclination in the real-life Brady. You can't teach this kind of brilliance, no matter what the discipline is. Indeed, his gentle approach itself is completely at variance with such scenes in other westerns, where we're usually shown someone breaking in a horse by forcing it to respect them, and that in itself speaks as much to Zhao's theme as anything else. It's this sense of docudrama/realism/naturalism, whatever you want to call it, that really makes _The Rider_ stand out.
Indeed, even the supporting characters, most of whom feature in only a few scenes, are well-rounded and nuanced. Take Wayne, for example. Yes, he's not much of a father, beaten down by loss and regret, he drinks too much and gambles money the family don't have. But he clearly loves both Brady and Lilly, he obviously deeply misses his wife and is unsure how to live without her (just as Brady is unsure how to live without the rodeo), and he understands Brady's passion but is also supportive of whatever it is his son ultimately decides to do. In a lesser film, he would be the token villain, unable to fathom why his son behaves the way he does, until a huge blow-off emotional moment at the end when father and son are forced to see one another in a different light. _The Rider_ has no time for such scenes, and is all the better for it.
If I had one criticism, it would be that the film runs out of momentum a little in the third quarter, although it picks up again in the last 20 minutes or so. However, aside from that, I literally cannot find a bad thing to say about this film.
Bleak but beautiful, honest, but deeply respectful, realistic but profoundly poetic, Zhao's depiction of a dying culture, a dying breed, a dying way of life – the adrenaline-junkie bronco riders, America's modern cowboys – is easily one of the finest films of the year. And how ironic is it that one of the best examinations of American masculinity that you're likely to see in a long time is written and directed by a woman? And a woman born in China to boot. That's sure to irritate the misogynists/xenophobes no end!
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The Rider est un film de 2017 langue 2017 réalisé par Bert Hamelinck, Nathan Halpern, Mollye Asher, Joshua James Richards, Chloé Zhao, Chloé Zhao, Chloé Zhao, Alex O'Flinn, Corentin De Saedeleer, Michael Sagol et produit par Highwayman Films, Caviar. Ce film achieved en vedette Brady Jandreau, Tim Jandreau, Lilly Jandreau, Cat Clifford, Terri Dawn Pourier, Lane Scott, Tanner Langdeau, James Calhoon, Derrick Janis, Greg Barber. Le film est sorti de 2017-05-20. Avant sa production, il y avait un très bon acteur qui a dit que le film serait joué level Bert Hamelinck, Nathan Halpern, Mollye Asher, Joshua James Richards, Chloé Zhao, Chloé Zhao, Chloé Zhao, Alex O'Flinn, Corentin De Saedeleer, Michael Sagol et réalisé level Bert Hamelinck, Nathan Halpern, Mollye Asher, Joshua James Richards, Chloé Zhao, Chloé Zhao, Chloé Zhao, Alex O'Flinn, Corentin De Saedeleer, Michael Sagol. Dans 2017-05-20, ils ont mentionné Highwayman Films, Caviar. **_Honest, raw, and respectful_**
> _I never really had a choice to be a cowboy. It was just in my blood. It was the way my family lived; grew up on horses my whole life. I would ride a horse all by myself when I was about a year-and-a-half. I don't really know anything else. I wouldn't have it any other way._
- Brady Jandreau; "Interview: Rodeo cowboy Brady Jandreau talks life before and after The Rider" (Sari Cohen); _Axs.com_ (August 31, 2018)
Partly an elegy for a dissipating way of life, partly an examination of the self-destructive components of contemporary masculinity, and partly a deconstruction of the iconography of the American frontier, _The Rider_ is the second film from Chinese-American writer/director Chloé Zhao, and is intimately tied to her debut, _Songs My Brothers Taught Me_ (2015). Set in the same location in South Dakota, featuring the same _milieu_, and covering some of the same thematic ground, _The Rider_ also owes a more practical debt to _Songs_. When she was researching that film, Zhao met rodeo rider Brady Jandreau, who taught her how to ride a horse. Promising him she would cast him in one of her subsequent films, Zhao soon learned that Jandreau had sustained a serious cranial injury in a rodeo accident, and been told by doctors that he must give up the only way of life he had ever known, as another blow to the head could kill him. Inspired by his story, Zhao wrote _The Rider_, a loosely fictionalised version of Jandreau's experiences, in which she cast entirely non-professional actors, including the real Jandreau, his father, sister, and several of his friends, all playing versions of themselves. The result is a semi-fictional docudrama, and one of the finest films of the year.
Set on the Pine Ridge Reservation in South Dakota, Brady Blackburn (Brady Jandreau) lives just above the poverty line with his father Wayne (Tim Jandreau) and his sister Lilly (Lilly Jandreau), who suffers from autism. Several months previously, Brady suffered a near-fatal head injury after falling from a bronco, which has left him with a huge scar on the side of his head, and ongoing neurological damage causing severe seizures in his right hand. Warned by doctors that if he attempts to ride again, a single innocuous fall could kill him, Brady finds his very sense of self challenged as he attempts to function in a society where every man lives by the maxim of "_ride or die_". No longer the rugged cowboy he believed himself to be, Brady takes a job stacking shelves in a local supermarket. However, feeling his life has become deeply unfulfilling, Brady begins to find the call of the rodeo increasingly difficult to ignore.
_The Rider_ is most definitely not a plot-driven film. Consisting almost entirely of a series of vignettes showing Brady going about his day, rather than a well-thought-out cause-and-effect narrative, Zhao also shuns traditional character arcs, and expressive, writerly dialogue. However, this is not a criticism; rather, the form perfectly mirrors the content. Humanistic without resorting to mawkish sentimentality, empathetic without employing cheap emotional manipulation, and honest without rushing to judgement, although the film certainly does critique Brady's desire to ride again, so too does it respect the fact that this is the only thing which has ever given his life meaning. Zhao's superbly balanced screenplay is both tactful and subtle, graceful and understated, exhibiting a rare emotional probity that goes hand-in-hand with its expertly realised naturalistic style.
In depicting Brady's struggle with his new life, Zhao is able to simultaneously romanticize and demythologise the role of the cowboy in the contemporary United States. As the story progresses, the film comes more and more to express a sense of disillusionment with the lifestyle of Brady and his friends, with their "damn the torpedoes" attitude becoming increasingly exposed as bravado. Part of this is the theme of the rodeo itself. So eloquently panegyrised in the early parts of the film, the rodeo is also presented as leading to physical ruin and mental anguish. Indeed, one of the film's primary motifs is that of injuries sustained whilst riding. The men who espouse this lifestyle say things such as, "_Cowboy up. Grit your teeth. Be a man_", (spoken by Wayne), "_rub some dirt in it_" (advice offered on how to recover from injury), "_ride through the pain_", and, "_head and ribs, all the same to a cowboy_". Brady's friends also point out that if they can't ride, they'll have little option but to "_become farmers_", a road none wish to take.
In relation to this, it's extremely telling that literally every male Brady meets, from young boys to elderly men, all express their desire that he start riding again, although many of them know why he stopped. On the other hand, one of the few female characters tells him pointedly, "_problem with you boys, you don't like to get your pride hurt_". However, unlike most of his friends, who urge him to shake off the injury, Brady is self-aware enough to admit, "_you know you'll get hurt, but you don't ever think you'll get hurt like that_". But although he is able to admit that, by contrast, he is he unable to shake his love of riding, especially the romanticised nature of such, telling Lilly towards the end of the film, "_God gives each of us a purpose. For a horse, it's to run across the prairie. For a cowboy, it's to ride_". Brady and his friends are personifications of the ruggedness of the American West, and the film uses them to facilitate a deconstruction of the notions of contemporary masculinity which they represent.
That Brady is indeed a cowboy, and sees himself as such, is emphasised several times. For example, the film makes us aware that Pine Ridge was once the frontier, but is now a dying backwater, where everybody who can leave has already left. This is also where the theme of respect comes in – the self-destructive nature of the life Brady and friends live is more than simply an adrenaline addiction. Rather it offers them the validation which they are unable to find anywhere else. Yes, they see themselves as modern day-cowboys, in an age where cowboys serve no function – their clothes are classic movie cowboy (stetson, plaid shirt, dirty jeans, cowboy boots, bolo ties), and many of them (including Brady) even wear six-shooters. But this is the only life they have known, and whilst the film leaves the audience in little doubt that this lifestyle can lead to ruin, so too does it ensure the viewer knows that Zhao has the deepest respect for these guys, depicting, as it does, the kind of desperation and limited choices that leave a young man with only one route, a route which often overrides any common sense he may have.
An important distinction to be made here is that, yes, the film is about masculinity, but it is not about "toxic masculinity". Never once does it feel like Zhao is looking down on or satirising Brady and his friends. Rather, she's criticising the situation in which they find themselves; forced to live a life of bluster and posturing. But Zhao makes sure the audience understands at all times the honour and tradition to which they subscribe.
The most telling example of this is Lane (Lane Scott). As with the real-life Brady, Lane was a celebrated rodeo with a reputation for riding broncos no one else would touch. The embodiment of machismo, with a devil-may-care attitude, we see Lane at the height of his popularity via YouTube videos, adored by the women in the audience and envied by the men. However, as in the film, the real Lane is now almost completely paralysed, capable of communicating only by signing with his left hand, and living permanently in a care facility. The only difference between the real-life Lane and his fictional counterpart is that in reality, he was paralysed in a car crash, whereas in the film it was via riding. This differentiation is telling as it speaks to Zhao's thematic intent. However, as with the other riders, Lane is presented with a great deal of reverence, and never does it feel like the film is saying, "look at what the rodeo did to this guy; he must be a total idiot."
In a sense, whilst the film partially recalls John Huston's _The Misfits_ (1961), its real thematic precursor is Darren Aronofsky's _The Wrestler_ (2008), an examination of male pride working against common sense, of professional dedication, of machoism gone awry. As with _The Wrestler_, the story of _The Rider_ is archetypal. _The Wrestler_ was about wrestling, but it could have been about any sport, and _The Rider_ is even more universal. Yes, it too could have been about any sport, but it could also have been about any environ in which a young male tries to balance the dangers of what he does with the possibility of some kind of reward (whether financial or spiritual) at the end of it all – a young bank robber up against a tough and determined cop (to quote Michael Mann's _Heat_ (1995), "_risk versus reward_"); a young boxer hoping he can make a better life for himself with just a couple more fights; a drug dealer hoping to stay off the radar of the drug lord he's crossed; a town where all the men work in the mines, or in a steel mill, or on a rig, and a young man joins the workforce despite knowing the risks involved.
Looking at things aesthetically, the film opens with a shot of a horse during a storm, followed by loud thunder. The immediate impression is one of almost elemental forces – two extremes of nature coming together. This is immediately contrasted with Brady waking up and heading into his dingy bathroom to pluck off the staples holding the bandage on his still raw head wound. Thus, in just two shots, Zhao sets up the entire theme of the film – poetic rhetoric and romantic myths are all very well and good, but day to day mundanity can so often get in the way.
Elsewhere, the centrepiece of the film, and probably the most beautiful sequence, is when Brady decides the only opportunity of which he can avail to allow him to stay around horses without risking his life is to break in young broncos. The single-take shot where he breaks in an "untrainable" horse is searingly beautiful in its simplicity and elegance. The lack of edits gives it an unmanipulated emotional sense, whilst also meaning there can be no cheating – we're really watching Brady Jandreau break in a stubborn horse. The gentle approach he employs, the constant reassurances to the animal, the way he holds the rope, how he gets the horse used to someone on its back without actually getting all the up, his grace and intuition, his confidence; the totality is, simply put, achingly perfect. What we are seeing obviously comes from a deep natural inclination in the real-life Brady. You can't teach this kind of brilliance, no matter what the discipline is. Indeed, his gentle approach itself is completely at variance with such scenes in other westerns, where we're usually shown someone breaking in a horse by forcing it to respect them, and that in itself speaks as much to Zhao's theme as anything else. It's this sense of docudrama/realism/naturalism, whatever you want to call it, that really makes _The Rider_ stand out.
Indeed, even the supporting characters, most of whom feature in only a few scenes, are well-rounded and nuanced. Take Wayne, for example. Yes, he's not much of a father, beaten down by loss and regret, he drinks too much and gambles money the family don't have. But he clearly loves both Brady and Lilly, he obviously deeply misses his wife and is unsure how to live without her (just as Brady is unsure how to live without the rodeo), and he understands Brady's passion but is also supportive of whatever it is his son ultimately decides to do. In a lesser film, he would be the token villain, unable to fathom why his son behaves the way he does, until a huge blow-off emotional moment at the end when father and son are forced to see one another in a different light. _The Rider_ has no time for such scenes, and is all the better for it.
If I had one criticism, it would be that the film runs out of momentum a little in the third quarter, although it picks up again in the last 20 minutes or so. However, aside from that, I literally cannot find a bad thing to say about this film.
Bleak but beautiful, honest, but deeply respectful, realistic but profoundly poetic, Zhao's depiction of a dying culture, a dying breed, a dying way of life – the adrenaline-junkie bronco riders, America's modern cowboys – is easily one of the finest films of the year. And how ironic is it that one of the best examinations of American masculinity that you're likely to see in a long time is written and directed by a woman? And a woman born in China to boot. That's sure to irritate the misogynists/xenophobes no end!, bandes-annonces et affiches lancées dans 2017-05-20 Ce site propose des Film nouveaux et anciens, des teasers et des aperçus pour tous les meilleurs vieux Film. Abonnez vous pour rester à jour sur tout ce qui arrive dans et votre plate-forme d e streaming préférée.
The Rider 2017 Streaming Vf Film Complet Gratuit en Français 2017
The Rider absorbs significantly a lot more compared to the film's top ranking at time of 105 Minutes. This accomplishment additionally sets the picture The Rider you must watch to watch The Rider absorbe in addition que le meilleur classement du Film au moment de la projection. Cette réalisation fulfilled également le movie The Rider que vous devez regarder à regarder. Once a rising star of the rodeo circuit, and a gifted horse trainer, young cowboy Brady is warned that his riding days are over after a horse crushed his skull at a rodeo. In an attempt to regain control of his own fate, Brady undertakes a search for a new identity and what it means to be a man in the heartland of the United States. Aimeriez-vous que Streaming Vf HD Complet film Gratuit The Rider soit sorti le 2017? Voici donc le meilleur endroit. **_Honest, raw, and respectful_**
> _I never really had a choice to be a cowboy. It was just in my blood. It was the way my family lived; grew up on horses my whole life. I would ride a horse all by myself when I was about a year-and-a-half. I don't really know anything else. I wouldn't have it any other way._
- Brady Jandreau; "Interview: Rodeo cowboy Brady Jandreau talks life before and after The Rider" (Sari Cohen); _Axs.com_ (August 31, 2018)
Partly an elegy for a dissipating way of life, partly an examination of the self-destructive components of contemporary masculinity, and partly a deconstruction of the iconography of the American frontier, _The Rider_ is the second film from Chinese-American writer/director Chloé Zhao, and is intimately tied to her debut, _Songs My Brothers Taught Me_ (2015). Set in the same location in South Dakota, featuring the same _milieu_, and covering some of the same thematic ground, _The Rider_ also owes a more practical debt to _Songs_. When she was researching that film, Zhao met rodeo rider Brady Jandreau, who taught her how to ride a horse. Promising him she would cast him in one of her subsequent films, Zhao soon learned that Jandreau had sustained a serious cranial injury in a rodeo accident, and been told by doctors that he must give up the only way of life he had ever known, as another blow to the head could kill him. Inspired by his story, Zhao wrote _The Rider_, a loosely fictionalised version of Jandreau's experiences, in which she cast entirely non-professional actors, including the real Jandreau, his father, sister, and several of his friends, all playing versions of themselves. The result is a semi-fictional docudrama, and one of the finest films of the year.
Set on the Pine Ridge Reservation in South Dakota, Brady Blackburn (Brady Jandreau) lives just above the poverty line with his father Wayne (Tim Jandreau) and his sister Lilly (Lilly Jandreau), who suffers from autism. Several months previously, Brady suffered a near-fatal head injury after falling from a bronco, which has left him with a huge scar on the side of his head, and ongoing neurological damage causing severe seizures in his right hand. Warned by doctors that if he attempts to ride again, a single innocuous fall could kill him, Brady finds his very sense of self challenged as he attempts to function in a society where every man lives by the maxim of "_ride or die_". No longer the rugged cowboy he believed himself to be, Brady takes a job stacking shelves in a local supermarket. However, feeling his life has become deeply unfulfilling, Brady begins to find the call of the rodeo increasingly difficult to ignore.
_The Rider_ is most definitely not a plot-driven film. Consisting almost entirely of a series of vignettes showing Brady going about his day, rather than a well-thought-out cause-and-effect narrative, Zhao also shuns traditional character arcs, and expressive, writerly dialogue. However, this is not a criticism; rather, the form perfectly mirrors the content. Humanistic without resorting to mawkish sentimentality, empathetic without employing cheap emotional manipulation, and honest without rushing to judgement, although the film certainly does critique Brady's desire to ride again, so too does it respect the fact that this is the only thing which has ever given his life meaning. Zhao's superbly balanced screenplay is both tactful and subtle, graceful and understated, exhibiting a rare emotional probity that goes hand-in-hand with its expertly realised naturalistic style.
In depicting Brady's struggle with his new life, Zhao is able to simultaneously romanticize and demythologise the role of the cowboy in the contemporary United States. As the story progresses, the film comes more and more to express a sense of disillusionment with the lifestyle of Brady and his friends, with their "damn the torpedoes" attitude becoming increasingly exposed as bravado. Part of this is the theme of the rodeo itself. So eloquently panegyrised in the early parts of the film, the rodeo is also presented as leading to physical ruin and mental anguish. Indeed, one of the film's primary motifs is that of injuries sustained whilst riding. The men who espouse this lifestyle say things such as, "_Cowboy up. Grit your teeth. Be a man_", (spoken by Wayne), "_rub some dirt in it_" (advice offered on how to recover from injury), "_ride through the pain_", and, "_head and ribs, all the same to a cowboy_". Brady's friends also point out that if they can't ride, they'll have little option but to "_become farmers_", a road none wish to take.
In relation to this, it's extremely telling that literally every male Brady meets, from young boys to elderly men, all express their desire that he start riding again, although many of them know why he stopped. On the other hand, one of the few female characters tells him pointedly, "_problem with you boys, you don't like to get your pride hurt_". However, unlike most of his friends, who urge him to shake off the injury, Brady is self-aware enough to admit, "_you know you'll get hurt, but you don't ever think you'll get hurt like that_". But although he is able to admit that, by contrast, he is he unable to shake his love of riding, especially the romanticised nature of such, telling Lilly towards the end of the film, "_God gives each of us a purpose. For a horse, it's to run across the prairie. For a cowboy, it's to ride_". Brady and his friends are personifications of the ruggedness of the American West, and the film uses them to facilitate a deconstruction of the notions of contemporary masculinity which they represent.
That Brady is indeed a cowboy, and sees himself as such, is emphasised several times. For example, the film makes us aware that Pine Ridge was once the frontier, but is now a dying backwater, where everybody who can leave has already left. This is also where the theme of respect comes in – the self-destructive nature of the life Brady and friends live is more than simply an adrenaline addiction. Rather it offers them the validation which they are unable to find anywhere else. Yes, they see themselves as modern day-cowboys, in an age where cowboys serve no function – their clothes are classic movie cowboy (stetson, plaid shirt, dirty jeans, cowboy boots, bolo ties), and many of them (including Brady) even wear six-shooters. But this is the only life they have known, and whilst the film leaves the audience in little doubt that this lifestyle can lead to ruin, so too does it ensure the viewer knows that Zhao has the deepest respect for these guys, depicting, as it does, the kind of desperation and limited choices that leave a young man with only one route, a route which often overrides any common sense he may have.
An important distinction to be made here is that, yes, the film is about masculinity, but it is not about "toxic masculinity". Never once does it feel like Zhao is looking down on or satirising Brady and his friends. Rather, she's criticising the situation in which they find themselves; forced to live a life of bluster and posturing. But Zhao makes sure the audience understands at all times the honour and tradition to which they subscribe.
The most telling example of this is Lane (Lane Scott). As with the real-life Brady, Lane was a celebrated rodeo with a reputation for riding broncos no one else would touch. The embodiment of machismo, with a devil-may-care attitude, we see Lane at the height of his popularity via YouTube videos, adored by the women in the audience and envied by the men. However, as in the film, the real Lane is now almost completely paralysed, capable of communicating only by signing with his left hand, and living permanently in a care facility. The only difference between the real-life Lane and his fictional counterpart is that in reality, he was paralysed in a car crash, whereas in the film it was via riding. This differentiation is telling as it speaks to Zhao's thematic intent. However, as with the other riders, Lane is presented with a great deal of reverence, and never does it feel like the film is saying, "look at what the rodeo did to this guy; he must be a total idiot."
In a sense, whilst the film partially recalls John Huston's _The Misfits_ (1961), its real thematic precursor is Darren Aronofsky's _The Wrestler_ (2008), an examination of male pride working against common sense, of professional dedication, of machoism gone awry. As with _The Wrestler_, the story of _The Rider_ is archetypal. _The Wrestler_ was about wrestling, but it could have been about any sport, and _The Rider_ is even more universal. Yes, it too could have been about any sport, but it could also have been about any environ in which a young male tries to balance the dangers of what he does with the possibility of some kind of reward (whether financial or spiritual) at the end of it all – a young bank robber up against a tough and determined cop (to quote Michael Mann's _Heat_ (1995), "_risk versus reward_"); a young boxer hoping he can make a better life for himself with just a couple more fights; a drug dealer hoping to stay off the radar of the drug lord he's crossed; a town where all the men work in the mines, or in a steel mill, or on a rig, and a young man joins the workforce despite knowing the risks involved.
Looking at things aesthetically, the film opens with a shot of a horse during a storm, followed by loud thunder. The immediate impression is one of almost elemental forces – two extremes of nature coming together. This is immediately contrasted with Brady waking up and heading into his dingy bathroom to pluck off the staples holding the bandage on his still raw head wound. Thus, in just two shots, Zhao sets up the entire theme of the film – poetic rhetoric and romantic myths are all very well and good, but day to day mundanity can so often get in the way.
Elsewhere, the centrepiece of the film, and probably the most beautiful sequence, is when Brady decides the only opportunity of which he can avail to allow him to stay around horses without risking his life is to break in young broncos. The single-take shot where he breaks in an "untrainable" horse is searingly beautiful in its simplicity and elegance. The lack of edits gives it an unmanipulated emotional sense, whilst also meaning there can be no cheating – we're really watching Brady Jandreau break in a stubborn horse. The gentle approach he employs, the constant reassurances to the animal, the way he holds the rope, how he gets the horse used to someone on its back without actually getting all the up, his grace and intuition, his confidence; the totality is, simply put, achingly perfect. What we are seeing obviously comes from a deep natural inclination in the real-life Brady. You can't teach this kind of brilliance, no matter what the discipline is. Indeed, his gentle approach itself is completely at variance with such scenes in other westerns, where we're usually shown someone breaking in a horse by forcing it to respect them, and that in itself speaks as much to Zhao's theme as anything else. It's this sense of docudrama/realism/naturalism, whatever you want to call it, that really makes _The Rider_ stand out.
Indeed, even the supporting characters, most of whom feature in only a few scenes, are well-rounded and nuanced. Take Wayne, for example. Yes, he's not much of a father, beaten down by loss and regret, he drinks too much and gambles money the family don't have. But he clearly loves both Brady and Lilly, he obviously deeply misses his wife and is unsure how to live without her (just as Brady is unsure how to live without the rodeo), and he understands Brady's passion but is also supportive of whatever it is his son ultimately decides to do. In a lesser film, he would be the token villain, unable to fathom why his son behaves the way he does, until a huge blow-off emotional moment at the end when father and son are forced to see one another in a different light. _The Rider_ has no time for such scenes, and is all the better for it.
If I had one criticism, it would be that the film runs out of momentum a little in the third quarter, although it picks up again in the last 20 minutes or so. However, aside from that, I literally cannot find a bad thing to say about this film.
Bleak but beautiful, honest, but deeply respectful, realistic but profoundly poetic, Zhao's depiction of a dying culture, a dying breed, a dying way of life – the adrenaline-junkie bronco riders, America's modern cowboys – is easily one of the finest films of the year. And how ironic is it that one of the best examinations of American masculinity that you're likely to see in a long time is written and directed by a woman? And a woman born in China to boot. That's sure to irritate the misogynists/xenophobes no end!, Bandes Annonces et affiches lancées dans 2017-05-20 Le film est Once a rising star of the rodeo circuit, and a gifted horse trainer, young cowboy Brady is warned that his riding days are over after a horse crushed his skull at a rodeo. In an attempt to regain control of his own fate, Brady undertakes a search for a new identity and what it means to be a man in the heartland of the United States.
The Rider 2017 Streaming Vf Film Complet Gratuit en Français 2017
Vous pouvez regarder le film complet de nos ranges. Ce site propose des Film nouveaux et anciens, des teasers et des aperçus pour tous les meilleurs vieux Film Abonnez vous pour rester dans les cinémas et votre plate-forme d e streaming préférée. The Rider absorbe as well as que le meilleur classement du Film au moment de la projection. Cette réalisation met également le picture The Rider que vous devez regarder à regarder The Rider Streaming Complet VF 2017 En Ligne 2017 Streaming Vf Français Complet Gratuit ~ The Rider Film Complet Streaming VF Entier Français The Rider En Streaming VF Complet Qualité HD Gratuit sans illimité 2017 **_Honest, raw, and respectful_**
> _I never really had a choice to be a cowboy. It was just in my blood. It was the way my family lived; grew up on horses my whole life. I would ride a horse all by myself when I was about a year-and-a-half. I don't really know anything else. I wouldn't have it any other way._
- Brady Jandreau; "Interview: Rodeo cowboy Brady Jandreau talks life before and after The Rider" (Sari Cohen); _Axs.com_ (August 31, 2018)
Partly an elegy for a dissipating way of life, partly an examination of the self-destructive components of contemporary masculinity, and partly a deconstruction of the iconography of the American frontier, _The Rider_ is the second film from Chinese-American writer/director Chloé Zhao, and is intimately tied to her debut, _Songs My Brothers Taught Me_ (2015). Set in the same location in South Dakota, featuring the same _milieu_, and covering some of the same thematic ground, _The Rider_ also owes a more practical debt to _Songs_. When she was researching that film, Zhao met rodeo rider Brady Jandreau, who taught her how to ride a horse. Promising him she would cast him in one of her subsequent films, Zhao soon learned that Jandreau had sustained a serious cranial injury in a rodeo accident, and been told by doctors that he must give up the only way of life he had ever known, as another blow to the head could kill him. Inspired by his story, Zhao wrote _The Rider_, a loosely fictionalised version of Jandreau's experiences, in which she cast entirely non-professional actors, including the real Jandreau, his father, sister, and several of his friends, all playing versions of themselves. The result is a semi-fictional docudrama, and one of the finest films of the year.
Set on the Pine Ridge Reservation in South Dakota, Brady Blackburn (Brady Jandreau) lives just above the poverty line with his father Wayne (Tim Jandreau) and his sister Lilly (Lilly Jandreau), who suffers from autism. Several months previously, Brady suffered a near-fatal head injury after falling from a bronco, which has left him with a huge scar on the side of his head, and ongoing neurological damage causing severe seizures in his right hand. Warned by doctors that if he attempts to ride again, a single innocuous fall could kill him, Brady finds his very sense of self challenged as he attempts to function in a society where every man lives by the maxim of "_ride or die_". No longer the rugged cowboy he believed himself to be, Brady takes a job stacking shelves in a local supermarket. However, feeling his life has become deeply unfulfilling, Brady begins to find the call of the rodeo increasingly difficult to ignore.
_The Rider_ is most definitely not a plot-driven film. Consisting almost entirely of a series of vignettes showing Brady going about his day, rather than a well-thought-out cause-and-effect narrative, Zhao also shuns traditional character arcs, and expressive, writerly dialogue. However, this is not a criticism; rather, the form perfectly mirrors the content. Humanistic without resorting to mawkish sentimentality, empathetic without employing cheap emotional manipulation, and honest without rushing to judgement, although the film certainly does critique Brady's desire to ride again, so too does it respect the fact that this is the only thing which has ever given his life meaning. Zhao's superbly balanced screenplay is both tactful and subtle, graceful and understated, exhibiting a rare emotional probity that goes hand-in-hand with its expertly realised naturalistic style.
In depicting Brady's struggle with his new life, Zhao is able to simultaneously romanticize and demythologise the role of the cowboy in the contemporary United States. As the story progresses, the film comes more and more to express a sense of disillusionment with the lifestyle of Brady and his friends, with their "damn the torpedoes" attitude becoming increasingly exposed as bravado. Part of this is the theme of the rodeo itself. So eloquently panegyrised in the early parts of the film, the rodeo is also presented as leading to physical ruin and mental anguish. Indeed, one of the film's primary motifs is that of injuries sustained whilst riding. The men who espouse this lifestyle say things such as, "_Cowboy up. Grit your teeth. Be a man_", (spoken by Wayne), "_rub some dirt in it_" (advice offered on how to recover from injury), "_ride through the pain_", and, "_head and ribs, all the same to a cowboy_". Brady's friends also point out that if they can't ride, they'll have little option but to "_become farmers_", a road none wish to take.
In relation to this, it's extremely telling that literally every male Brady meets, from young boys to elderly men, all express their desire that he start riding again, although many of them know why he stopped. On the other hand, one of the few female characters tells him pointedly, "_problem with you boys, you don't like to get your pride hurt_". However, unlike most of his friends, who urge him to shake off the injury, Brady is self-aware enough to admit, "_you know you'll get hurt, but you don't ever think you'll get hurt like that_". But although he is able to admit that, by contrast, he is he unable to shake his love of riding, especially the romanticised nature of such, telling Lilly towards the end of the film, "_God gives each of us a purpose. For a horse, it's to run across the prairie. For a cowboy, it's to ride_". Brady and his friends are personifications of the ruggedness of the American West, and the film uses them to facilitate a deconstruction of the notions of contemporary masculinity which they represent.
That Brady is indeed a cowboy, and sees himself as such, is emphasised several times. For example, the film makes us aware that Pine Ridge was once the frontier, but is now a dying backwater, where everybody who can leave has already left. This is also where the theme of respect comes in – the self-destructive nature of the life Brady and friends live is more than simply an adrenaline addiction. Rather it offers them the validation which they are unable to find anywhere else. Yes, they see themselves as modern day-cowboys, in an age where cowboys serve no function – their clothes are classic movie cowboy (stetson, plaid shirt, dirty jeans, cowboy boots, bolo ties), and many of them (including Brady) even wear six-shooters. But this is the only life they have known, and whilst the film leaves the audience in little doubt that this lifestyle can lead to ruin, so too does it ensure the viewer knows that Zhao has the deepest respect for these guys, depicting, as it does, the kind of desperation and limited choices that leave a young man with only one route, a route which often overrides any common sense he may have.
An important distinction to be made here is that, yes, the film is about masculinity, but it is not about "toxic masculinity". Never once does it feel like Zhao is looking down on or satirising Brady and his friends. Rather, she's criticising the situation in which they find themselves; forced to live a life of bluster and posturing. But Zhao makes sure the audience understands at all times the honour and tradition to which they subscribe.
The most telling example of this is Lane (Lane Scott). As with the real-life Brady, Lane was a celebrated rodeo with a reputation for riding broncos no one else would touch. The embodiment of machismo, with a devil-may-care attitude, we see Lane at the height of his popularity via YouTube videos, adored by the women in the audience and envied by the men. However, as in the film, the real Lane is now almost completely paralysed, capable of communicating only by signing with his left hand, and living permanently in a care facility. The only difference between the real-life Lane and his fictional counterpart is that in reality, he was paralysed in a car crash, whereas in the film it was via riding. This differentiation is telling as it speaks to Zhao's thematic intent. However, as with the other riders, Lane is presented with a great deal of reverence, and never does it feel like the film is saying, "look at what the rodeo did to this guy; he must be a total idiot."
In a sense, whilst the film partially recalls John Huston's _The Misfits_ (1961), its real thematic precursor is Darren Aronofsky's _The Wrestler_ (2008), an examination of male pride working against common sense, of professional dedication, of machoism gone awry. As with _The Wrestler_, the story of _The Rider_ is archetypal. _The Wrestler_ was about wrestling, but it could have been about any sport, and _The Rider_ is even more universal. Yes, it too could have been about any sport, but it could also have been about any environ in which a young male tries to balance the dangers of what he does with the possibility of some kind of reward (whether financial or spiritual) at the end of it all – a young bank robber up against a tough and determined cop (to quote Michael Mann's _Heat_ (1995), "_risk versus reward_"); a young boxer hoping he can make a better life for himself with just a couple more fights; a drug dealer hoping to stay off the radar of the drug lord he's crossed; a town where all the men work in the mines, or in a steel mill, or on a rig, and a young man joins the workforce despite knowing the risks involved.
Looking at things aesthetically, the film opens with a shot of a horse during a storm, followed by loud thunder. The immediate impression is one of almost elemental forces – two extremes of nature coming together. This is immediately contrasted with Brady waking up and heading into his dingy bathroom to pluck off the staples holding the bandage on his still raw head wound. Thus, in just two shots, Zhao sets up the entire theme of the film – poetic rhetoric and romantic myths are all very well and good, but day to day mundanity can so often get in the way.
Elsewhere, the centrepiece of the film, and probably the most beautiful sequence, is when Brady decides the only opportunity of which he can avail to allow him to stay around horses without risking his life is to break in young broncos. The single-take shot where he breaks in an "untrainable" horse is searingly beautiful in its simplicity and elegance. The lack of edits gives it an unmanipulated emotional sense, whilst also meaning there can be no cheating – we're really watching Brady Jandreau break in a stubborn horse. The gentle approach he employs, the constant reassurances to the animal, the way he holds the rope, how he gets the horse used to someone on its back without actually getting all the up, his grace and intuition, his confidence; the totality is, simply put, achingly perfect. What we are seeing obviously comes from a deep natural inclination in the real-life Brady. You can't teach this kind of brilliance, no matter what the discipline is. Indeed, his gentle approach itself is completely at variance with such scenes in other westerns, where we're usually shown someone breaking in a horse by forcing it to respect them, and that in itself speaks as much to Zhao's theme as anything else. It's this sense of docudrama/realism/naturalism, whatever you want to call it, that really makes _The Rider_ stand out.
Indeed, even the supporting characters, most of whom feature in only a few scenes, are well-rounded and nuanced. Take Wayne, for example. Yes, he's not much of a father, beaten down by loss and regret, he drinks too much and gambles money the family don't have. But he clearly loves both Brady and Lilly, he obviously deeply misses his wife and is unsure how to live without her (just as Brady is unsure how to live without the rodeo), and he understands Brady's passion but is also supportive of whatever it is his son ultimately decides to do. In a lesser film, he would be the token villain, unable to fathom why his son behaves the way he does, until a huge blow-off emotional moment at the end when father and son are forced to see one another in a different light. _The Rider_ has no time for such scenes, and is all the better for it.
If I had one criticism, it would be that the film runs out of momentum a little in the third quarter, although it picks up again in the last 20 minutes or so. However, aside from that, I literally cannot find a bad thing to say about this film.
Bleak but beautiful, honest, but deeply respectful, realistic but profoundly poetic, Zhao's depiction of a dying culture, a dying breed, a dying way of life – the adrenaline-junkie bronco riders, America's modern cowboys – is easily one of the finest films of the year. And how ironic is it that one of the best examinations of American masculinity that you're likely to see in a long time is written and directed by a woman? And a woman born in China to boot. That's sure to irritate the misogynists/xenophobes no end! .
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