Tag Archives: Fritz Lang

Reviews by Romi: “Breaking Bad and The Spaghetti Western”

Breaking Bad and the Spaghetti Western

 

Over at Film & TV Reviews by Romi there was an excellent, if somewhat old, post titled “Breaking Bad and the Spaghetti Western.” At the start of the post, Romi described the influence of Film Noir and the movies of Fritz Lang on Breaking Bad. Then he turns to the influence of the Spaghetti Western. Here is what Romi wrote:

What is so important about the western and noir is that, according to Vince Gilligan, in an interview after the final episode of this season of Breaking Bad, he credits not only noir as his influence, but the western, specifically, the spaghetti western.  The spaghetti western was made famous by Clint Eastwood in the mid 1960s, with a group of films directed bySergio Leone in Spain for low budgets (many other spaghetti westerns were shot in Italy).  The Eastwood character tended to be a lone hero, alienated by all and would stop at nothing to get what he needed to accomplish with little dialogue and a lot of riding around the desert.

Gilligan explains that he actually had the potential directors this season watchOnce Upon A Time in the West which now makes all of the strange openings and extreme alienation of Walt something that makes even more sense.  In noir as in the western, your protagonist is always going to be an antihero, someone who usually did his best to play by the rules and work within the system but something happens, something dramatic (in Walt’s case, he got cancer and needed money for bills and to provide for his family) and our antihero decides to throw caution to the wind and make his own rules.  Hence, why Walt has evolved so much in the past 4 seasons.  It makes even more sense, this hybridity of the western and noir, to remember the locale Breaking Bad takes place in:  New Mexico.  The Old West.  Where laws are broken constantly and lawmen are scrambling to keep some sort of barrier between civility and lawlessness.  If the protagonist is a true anti-hero and cannot live within the system any longer and function as a human being, there are only two options for him, to live somewhere, usually alone or with other outlaws or to die.  In true noir, as well, our protagonist/anti-hero tends to die at the end of all great noir films, since their lives are doomed from the start.  I just don’t see a happy ending for Walt.  All I know is that so far it has been a great ride.

It is fascinating to see that these movies that genre fans love are more culturally relevant today than they ever have been. They have generated images and experiences that contemporary artists in film, television, and comics still turn.

Romi’s blog looks interesting. Check it out and subscribe!

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“Echoes of the Spaghetti Western” in Kundo: Age of the Rampant . . .

kundo

 

In a review of Kundo: Age of the Rampant (2014), a historically-based Korean action film, Washington Post reviewer Mark Jenkins brings up spaghetti westerns briefly:

The history lesson pretty much stops there, however. The movie owes less to real events and more to Chinese kung fu flicks — yes, there’s a battling monk — and Akira Kurosawa’s classic “Seven Samurai.” And the Ennio Morricone-derived score is just one echo of the spaghetti westerns that also inspired “The Good, the Bad, the Weird,” a 2008 Korean romp.

This is an interesting way to talk about the influence of the Italian Western on contemporary cinema . . . ‘echoes.’

Much of contemporary cinema (really, since the early 1990s) has been about filmmakers trying to stitch together the cinematic rhetoric of the past into something new. Tarantino is the master of this (though I thought that Django Unchained (2012) was a failure).

What is interesting to me is that this type of cinema was initiated by the popular European filmmakers that Tarantino often makes reference to. In the late 1950s and early 1960s, German cinemas were filled with movies the pointed back to the silent adventure films of the Weimar era before the rise of the Nazis. Upon his return to Germany, Fritz Lang remade Joe May’s epic The Indian Tomb (1921) (IMDB) as a two part film in 1959. In The 1000 Eyes of Dr. Mabuse (1960) then returned to the character of the insane criminal mastermind Dr. Mabuse he had first introduced to film in Dr. Mabuse the Gambler (1922) and The Testament of Dr. Mabuse (1933). These movies combined the cartoonish and exotic serial aesthetic with the contemporary pulp of Hollywood or the Bond-inspired spy movies.

Harald Reinl and others continued the Dr. Mabuse series through several other films. At the same time, the krimi films based on Edgar Wallace mysteries and the WInnetou films became popular. All of these movies looked to the earlier cultural forms to recreate a new popular German cinema.

While the German’s may have started this reuse of cultural artifacts, it was the Italians who mastered the re-use of past cinema to tell the stories that they were most interested in. The early Italian Westerns were largely pastiches of the Hollywood Western, but when Sergio Leone burst onto the scene with Fistful of Dollars (1964), the spaghetti western moved beyond pastiche or imitation. Leone did deliberately recreate moments, situations, and plots from his favorite American Western films. However, he did this in order to use to tell his own stories. And, due to the familiarity of audiences with these cinematic forms, he was able to invert, distort, or twist them in order to achieve new effects. Sergio Corbucci used the same techniques, though he was perhaps a bit more irreverent and crude. This same technique is essentially what Quentin Tarantino does in his films.

So it is quite interesting that Italian Westerns are a constant reference in this type of cinema, whether made in the US, Korea, or elsewhere. The popular pulp filmmakers of the early 1960s invented this approach to film. While I really like movies like Pulp Fiction (1994) or Sin City (2005), I have to admit that I think that the Italians did it better 50 years ago.

 

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