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Posted by dalepeters1962 on 5th February 2010
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If director Monte Hellman’s THE SHOOTING is not the cult movie by excellence, I’m ready to ogle the whole production of Jackie Chan available here at … . DVD’s and VHS. Without quick forwarding.
Shot entirely in the heavenly Utah desert sceneries, THE SHOOTING relates the yarn of a hunting. Who is hunted and who is hunting is one of the multiple unanswered questions of this current western. The name of the character played by Millie Perkins is never uttered, she is only credited as “The Woman”. Is she the mother of the child Warren Oates’s brother would have hurted during a high-tail into town? Fair guess.
Monte Hellman and Jack Nicholson were both section of producer Roger Corman’s fantastic nest of future stars, they teamed up in 1967 for THE SHOOTING and Hobble IN A WHIRLWIND shot simultaneously. All I can say is that THE SHOOTING is a kind of UFO in the american production of this period and deserves to cease in your collection as an example of what can be done with a restricted budget and a lot of gracious ideas. Simply extraordinary.
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I had a few problems with the menus of the DVD, never sparkling where I was because the different available features were not lightened. But fortunately I know how to count until ten and made my scheme through the menus where I discovered filmographies, a relate gallery, different trailers and a very informative commentary said by Monte Hellman and Millie THE WOMAN Perkins. I eventually learned that Jack Nicholson was helped by a technical trick when he had to method his gun. Simple but efficient.
A DVD for your library.
THE SHOOTING (1966) : Willet Gashade (Warren Oates) and his dimwitted friend Coley (Will Hutchins) are in a situation of growing paranoia after their partner is inexplicably shot to death by an unseen assassin at their itsy-bitsy mining camp. The slay may have been in retaliation for the accidental trampling death of “a exiguous person” in town, ostensibly by Gashade’s brother, who had left camp in a grand urge immediately prior to the shooting. The next morning, while the two remain confused and suspicious over this disturbing mystery, a unusual young woman (Millie Perkins) shoots her horse to death outside of the camp and then offers Gashade a thousand dollars to lead her to a region called Kingsley. He accepts even though he makes no attempt to conceal his distrust. Intrigued by The Woman, Coley offers to heed along. On their scramble, the trio are tracked at a distance by a sad clad stranger, Billy Spear (Jack Nicholson) . Meanwhile, The Woman laughingly toys with Coley’s emotions and refuses to acknowledge any of Gashade’s questions. Spear eventually joins them and proves to be a most foul companion. Hostile and abusive in the gross, Spear is a gunslinger cohort of The Woman, who is herself fleet revealed to be every bit as depraved as Gashade had suspected from the beginning. Eventually, the exclusive trek ends in bloody disarray at the foot of a rock-strewn mountain, where Gashade comes face to face with the respond to the mystery, at colossal cost.
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One of the most famous of all cult movies, and deservedly so, THE SHOOTING is a truly big example of the once valuable western compose, a triumphant dying gasp for the genre. This compelling account of strange vengeance is directed with cold icy brilliance by Monte Hellman. The perennially underrated Hellman works wonders on a lowbudget, with handsome cinematography (by Gregory Sandor) provoking a strong aura of the mysterious and uncanny even in the most realistically detailed scenes.
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A cramped but terrific cast helps brings the occasionally mystical story to life. Warren Oates plays the world weary and wise Grashade with his usual gritty style, making him a genuine anti-hero for this sad record. He’s an kindly foe to Jack Nicholson’s irredeemably inappropriate Billy Spear, one of the most repulsively mean of all movie villains. As unpleasant as he is, Nicholson is ultimately simply a well armed servant at the beck and call of The Woman, who is beautifully played by Millie Perkins for maximum hissability. Both Spear and The Woman engineer the destruction of Oates’ foolish sidekick Coley, whose decency earns him an undeserved fate; Will Hutchins’ charmingly sweet performance provides the film with its only moments of gentleness.
Richly ambiguous and by turns realistic and dreamlike, THE SHOOTING is a sporadically baffling but undeniably heady slide into the desert. The creepy ending makes this one of those rare movies that will compel you to immediately rewatch the whole thing from beginning to slay, if only so you can try to satisfy your curiosity about what it unprejudiced might REALLY be all about. Its THAT gigantic of a movie.
The VCI DVD presents THE SHOOTING in a gorgeous, modestly letterboxed transfer that captures the film in all its eerie widescreen glory. Since the film never received a theatrical release and has been shown only rarely on television, this is the first time most people will have ever had the chance to behold this film in its intended aspect ratio. The only extra is a terrific and highly informative audio commentary from Hellman and Perkins, who vividly bewitch with candor and humor the filming of this ultra-cheap, high-class production.
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