The Westerner

The Westerner

Drifter Cole Harden is accused of stealing a horse and faces hanging by self-appointed Judge Roy Bean, but Harden manages to talk his way out of it by claiming to be a friend of stage star Lillie Langtry, with whom the judge is obsessed, even though he has never met her. Tensions rise when Harden comes to the defense of a group of struggling homesteaders who Judge Bean is trying to drive away.

  • Rating:
    4.00 out of 5
  • Length:100 minutes
  • Release:1940
  • Language:English
  • Reference:Imdb
  • Keywords:epic,   murder,   fire,  

Accused of stealing horses, drifter Cole Harden (Gary Cooper) finds himself before the infamous Judge Roy Bean (Walter Brennan). Harden saves himself from hanging by pretending that he's intimately acquainted with actress Lily Langtry, whom Bean worships from afar. . You can read more in Google, Youtube, Wiki


The Westerner torrent reviews

Simon D (ag) wrote: Watched this not knowing what to expect, which probably helped the film for me from the start. The acting, premise, script and direction are all very solid, however I found myself really bothered by the cinematography... I can't describe it other than to say that it looked like a superbly executed university project! The recurring dream shots of Eric's girlfriend could have been more visually stunning and certain shots could have been less warm to reflect the 'real world' style of the screenplay. However I wasn't tempted to look at my watch and was happy that the film held its nerve right to the end!

Karen A (es) wrote: Great performances by Clint Eastwood, Amy Adams and Justin (he can act!) Timberlake. Eastwood as a gristly, aging scout vs. Matthew Lillard as a by-the-numbers analytics guru. Baseball is the real star of this movie. Lots of fun following the game with Gus, Mickey and Johnny.

Veronique K (ag) wrote: guilty of romance is adapted from a true criminal case happened in tokyo at the end of nineties. it happened in the love-hotel district where prostitutes and adulters hanged around. the woman's body was decapitated and her limps mutated to be restitched with a sex doll. japanese crime-noir director sino sono re-invents the story loosely based on the true event, and it becomes guilty of romance. if tossed in the realm of comparative cinema, guilty of romance could be a japanese version/interpretation of catherine deneauve's belle de jour for sharing the element of middle-class prim housewife suddenly going slutty for a curious taste of sweet debauchery, a swallow of the forbidden fruit.(mockery on bourgeois hypocrisy) except it's blended with lots of gory blood dipped in semen, incest and murder as well as a dose of unfulfilled plantonic lesbianism. from the version i view (there's still another version un-available in my region), there're two major stories concerning two women's descendences into corruptions: a housewife and an university literature professor. the movie adapts an intertextual reference of kafka's castle to anchor the psyche of female transgressions since the ultimate victim(literature professor) in this picture has an obsession with kafka's castle, and she even compares the love-hotel district as a castle of lust where people're entangled by the excess of desire. as for herself, she's bounded in a continuous relationship of incest with her father, who's also a literature-professor and his favorite book is kafka's castle until his death. the film creates a sense of disturbance by the dichotomic juxtaposition of classy etiquettes and seedy circumstnaces. mahler's symphony n. 5 is played throughout the picture in one soft-core pornographical scene after another as an attempt to give the course of human decadence a refined poetic interpretation. "welcome to the hell of love" is a slogn loudly announced in the picture as one woman acts as the mephistopheles who introduces another (faust) into the domain of self-acknowledge, a journey of exploring her darkness within, testing the depth within the abyss of her lust. in other words, how low a woman could descend in her wild pursuit of sex? it's about two seemingly proper and dignified women's lives at night, volunteering to do street-prostitution for the sake of pleasure. despite the crime in the film seems misogynistic, like an outrageous violence against woman, whose genital is brutally hollowed out, whose head is deprived to be assembled with a dead object (plastic sex doll). it does sound like an expression of extreme hatred toward the woman, and inevitably the premise would guide you into one of those american serial killer movies where gender-cide is a prevailing topic. (thanks to ted bundy and ed gein, texas chainsaw massacre) but it's NOT. this is a crime scene devoid of man, a psychological torture-chamber between the womankind since the killer in the end is the professor's mother who resents her daughter for monopolizing her husband's affections. all the women here are trapped within the castle of love and lust, which are in the peculair "circle of human feelings" where lust is permissible as long as you don't violate the rules or trespass the boundaries (according to ruth benedict's book on japanese ethnology "sword and chrysanthemum"), something not to be measured by the puritanical/christian standard of the west. but in this case, what these women are guilty of is not lust or love or romance (the english translation is quite catchy indeed, but also confusing), but the crime of failing to discern the boundaries between them. universally, isn't it what film noir (or any kind of noir) is about? the protagonist's dysfunction to discern between love and sex, often entwined in a romance without love, or deeming the object of your lust as the goddess of your ritualistic human sacrifice. (ps) this movie changes my impression of japanese females.. the women in this picture are just SO sensual and of them is just SO voluptuous. of course, she is also former model of some erotic photography. (which means not your typical girl-next-door lily man adores..but a special case...i simply ADORE special case in almost anything! ha)

Leonardo Malacay S (jp) wrote: Maggie Smith es una gran actriz y logra interpretar maravillosamente a esta adorable anciana con un pasado brutal y un presente muy singular!!!

Dalia D (kr) wrote: We have a random and barbaric murder of employers in Murderous Maids, in which Sylvie Testud plays Christine Papin, an inexplicably high-strung young woman who loathes her sometimes-whoring mother and is desperate to rescue her fourteen year old sister La (Julie-Marie Parmentier) from her clutches. Ironically, she takes La right into her bed, where they engage in artistic, nude embraces and bite their bottom lips in painful pleasure. I'm certain that there are feminists (and film critics and historians and psychologists) aplenty who would argue that this behavior is totally feasible given the repressive environment in which the sisters find themselves, where they have no privacy, no tenderness, and no sexual outlet, and in which Christine was most likely sexually abused as a child by one of her mother's men. But I am sticking with my bourgeois point of view that this sexual relationship is absurd. It doesn't offend me; I merely find it ridiculous. The head of household here is far less gracious than La Crmonie's Lelievres, but even her surprise intrusion on the sister's romantic evening, during which they share crepes, naked in bed, doesn't warrant the sudden, brutal death that Christine inflicts upon her (and her present daughter!), with a pewter jug (the closest thing at hand). Nor does it warrant the mutilation wreaked on their bodies by Christine and the now-present La, who slice them up with kitchen knives. The sisters are quickly caught (they do not try to hide) and sent to prison, where Christine madly screams for her sister (locked in a separate cell) for days, until the guards bring La to her. The older sister, by now clearly insane, claws and smothers the younger, who tries to squirm away, and the guards separate them again. The screen goes black and we're told that Christine, though sentenced to death, died after four years on a commuted life sentence, and that La returned to live with her mother, not dying until the year the film was made (without her knowledge or consent). Though the movie is marketed as "a true story," I'm rather doubtful as to its veracity. A critic with a Marxist bent would be happy to say that this film punishes the upper-class characters for their complicity in a destructive social order, and might even propose that my sympathy for the holders of power and money is merely a bourgeois identification with that which I desire. But I would say that these women are emotional basketcases who desperately need therapy and/or yoga, and that the filmmaker needed to work a bit harder on generating sympathy for their dark heroines. Why doesn't Christine warm to the attentions of the young man at the country house if she is so starved for attention, and, if its because she hates men because of a bad sexual experience in her childhood, why would she open the too-young La to sexual experiences, rather than preserve her innocence? These women's actions, from the very beginning of the film, don't make very much sense at all, and therefore, I cannot identify with, feel sorry for, or care about their troubles.

Brian S (nl) wrote: Imagine if Roger Corman had decided to rip off "Aliens," decided it was a bad idea and turned it over to Ed Wood halfway through. Ed Wood then tried to make the film more cheaply than any other he'd made while drinking a quart of floor polish for breakfast every morning. Now imagine that someone tied you down and clipped your eyes open like in "A Clockwork Orange" and made you watch the finished product while performing dental work on you without an anesthetic. Don't. Just don't. It gets one star for Linnea Quigley in a wet t-shirt being on-screen for substantial periods. That's the only good thing about this deservedly forgotten bladders-and-latex crapfest.

Stephen C (kr) wrote: A novel idea for a film using as it does Film,Newsreel and radio clips to chronicle the great depression which paralysed America during the late 20s and 30S.The film clips contrats Busby Berkelys high rolling music numbers with the dirt poor of Americas midwest and hows thousands were uprooted and forced to move when things became too tough.Many of the periods stars and other names appear from James Cagney to Humprey Bogart to Huey Long to the hero of the piece Franklin D Roosevelt who would lead America from slump to boom to Second World war.The film features the greta songs of the period such as Woody Guthries Vigilante man to that timeless classic Were in the Money.Sometimes the film does feel a bit dry but then thats to be expected when dealing with such a serious subject,but on the whole if you want a snapshot of a countyr during a vital period of time then this film does a hell of a lot.

James A (br) wrote: As enjoyable a film as you will ever see.

Kevin L (us) wrote: When two escaping American World War II prisoners are killed, the German POW camp barracks black marketeer, J.J. Sefton, is suspected of being an informer.