"The time to live and the place to die. That's all any man gets. No more, no less"-Parson (Hank Worden) in The Alamo."Look, I don't mean to be a sore loser, but when it's done...if I'm dead...kill him!"-Butch Cassidy (Paul Newman) in Butch Cassidy and the Sundance Kid."Well, there are some things a man just can't run away from"-The Ringo Kid (John Wayne) in Stagecoach.KID: "Why don't we have a drink for old times' sake?" BUTCH: "Old times' sake? That means you got no cash"-Kid Sheleen (Lee Marvin) and Butch Cassidy (Arthur Hunnicutt) in Cat Ballou.This is a topically arranged compilation of over 6,000 famous lines and memorable quotes from over 1,000 western films, from the 1920s to 1998. Indexes to actors and actresses, film names and narrow subjects provide instant access for both cowboy fans and western film scholars.
Kilmer shares the stories behind his most beloved roles, reminisces about his star-studded career and love life, and reveals the truth behind his recent health struggles. Kilmer has played so many iconic roles over his nearly four-decade film career, but here he steps out of character and reveals his true self. While containing plenty of tantalizing celebrity anecdotes, the book is ultimately a deeply moving reflection on mortality and the mysteries of life. -- adapted from jacket
References to western movies scattered over some 250 works by more than 130 authors constitute the subject matter of this book, arranged in an encyclopedic format. The entries are distributed among western movies, television series, big screen and television actors, western writers, directors and miscellaneous topics related to the genre. The data cover films from The Great Train Robbery (1903) to No Country for Old Men (2007) and the entries include many western film milestones (from The Aryan through Shane to Unforgiven), television classics (Gunsmoke, Bonanza) and great screen cowboys of both "A" and "B" productions.
Certain lines define a movie. Marlene Dietrich in Morocco: “Anyone who has faith in me is a sucker.” Too, there are lines that fit actor and character. Mae West in I’m No Angel: “I’m very quick in a slow way.” Jane Fonda in California Suite: “Fit? You think I look fit? What an awful shit you are. I look gorgeous.” From the classics to the grade–B slasher movies, over 11,000 quotes are arranged by over 900 subjects, like accidents, double entendres, eyes (and other body parts!), ice cream, luggage, parasites, and ugliness. Each quote gives the movie title, production company, year of release, speaker of the line, and, when appropriate, a comment putting the quote in context.
Perhaps best known for his classic movie lines, such as "Fill your hands, you sons-of-bitches!" from True Grit, the late actor John Wayne often displayed a spontaneous and biting wit when away from the screen as well. When a reporter from the Harvard Crimson sarcastically asked Wayne if he looked at himself as an "American Legend," for example, the Duke replied: "Well, not being a Harvard man, I don't look at myself any more than necessary."
#1 New York Times bestseller “An epic and a legend” —Washington Post “Quite simply, an American masterpiece.” —Boston Globe “The dialogue in True Grit is exquisite.” —David Mamet “Charles Portis had a wonderful talent—original, quirky, exciting.” —Larry McMurtry Charles Portis has long been acclaimed as one of America’s most enduring and incomparable literary voices, and his novels have left an indelible mark on the American canon. True Grit, his most famous novel, was first published in 1968, and has garnered critical acclaim as well as enthusiastic praise from countless passionate fans for more than fifty years. This story of danger and adventure in the old west became the basis for two award-winning films, the first starring John Wayne, in his only Oscar-winning role, as Marshall Rooster Cogburn, and the widely praised remake by the Coen brothers, starring Jeff Bridges. True Grit tells the story of Mattie Ross, who is just fourteen when the coward Tom Chaney shoots her father in Fort Smith, Arkansas, and robs him of his life, his horse, and $150 cash. Filled with an unwavering urge to avenge her father’s blood, Mattie finds and, after some tenacious finagling, enlists one-eyed Rooster Cogburn, the meanest available US Marshal, as her partner in pursuit, and they head off into Indian Territory after the killer. True Grit is essential reading. Not just a classic Western, but an undeniable classic of American literature as eccentric, cool, funny, and unflinching as Mattie Ross herself. For fans of either the John Wayne classic or the more recent Coen brothers’ movie, it’s a chance to relive the story of Mattie and Rooster and experience their story as it was originally told. For fans of taut, funny storytelling, it will be a joy to experience in its original form. This edition includes an afterword by bestselling author Donna Tartt (The Secret History and The Goldfinch) and a reading group guide.
This is a reissue of the novel inspired by Hunter S. Thompson's ether-fuelled, savage journey to the heart of the American Dream: We were somewhere around Barstow on the edge of the desert when the drugs began to take hold... And suddenly there was a terrible roar all around us and the sky was full of what looked like huge bats, all swooping and screeching and diving around the car, which was going about a hundred miles an hour with the top down to Las Vegas.
American historians such as Frederick Jackson Turner have argued that the West has been the region that most clearly defines American democracy and the national ethos. Throughout the twentieth century, the "frontier thesis" influenced film and television producers who used the West as a backdrop for an array of dramatic explorations of America's history and the evolution of its culture and values. The common themes found in Westerns distinguish the genre as a quintessentially American form of dramatic art. In Hollywood's West, Peter C. Rollins, John E. O'Connor, and the nation's leading film scholars analyze popular conceptions of the frontier as a fundamental element of American history and culture. This volume examines classic Western films and programs that span nearly a century, from Cimarron (1931) to Turner Network Television's recent made-for-TV movies. Many of the films discussed here are considered among the greatest cinematic landmarks of all time. The essays highlight the ways in which Westerns have both shaped and reflected the dominant social and political concerns of their respective eras. While Cimarron challenged audiences with an innovative, complex narrative, other Westerns of the early sound era such as The Great Meadow (1931) frequently presented nostalgic visions of a simpler frontier era as a temporary diversion from the hardships of the Great Depression. Westerns of the 1950s reveal the profound uncertainty cast by the cold war, whereas later Westerns display heightened violence and cynicism, products of a society marred by wars, assassinations, riots, and political scandals. The volume concludes with a comprehensive filmography and an informative bibliography of scholarly writings on the Western genre. This collection will prove useful to film scholars, historians, and both devoted and casual fans of the Western genre. Hollywood's West makes a significant contribution to the understanding of both the historic American frontier and its innumerable popular representations.
Over 11,000 of these 18,000 quotations have never before appeared in a quotation book. Chosen not for their familiarity but for their quality and their relevance in the 1990s, these provocative quotations cover subjects from adolescence and adoption to yuppies and zoos.
