I checked amazon for the score, and there wasn't one there, but then I checked iTunes today on a whim and there seems to be one available there. But I'm reluctant to get that one b/c my ipod is dead and the mp3 player I use to play music won't play m4p, just m4a. And that whole thing with burning onto a CD and then reripping has for some reason never worked for me, so I'm holding back on the score for the moment. But it's definitely up on itunes!
I agree, it was about mutual respect. And in that sense, I think he definitely did it so William could say that his dad put Ben Wade on that train; I saw him getting on the train as a gesture like, only Dan Evans could have put me on this train, I'm getting on b/c of respect for him. AND the implication that he's just going to break out again, that made the seeming character change work for me. I also love that shot of Butterfield watching from afar because it so well-timed, it really made the ending feel epic, like this was going to be one of those legends ppl tell for forever. Which I LOVE.
Seriously, one of the best parts of the movie is that the grey areas were SO FREAKING GTEY, and that was what really kept me in suspense for most of the film :P
What! Well, this is why I have my iTunes gift card. I thought I would never use it...but I guess I will after all.
But yeah, I think that's what it was, and it all goes back to that thing about not doing favors for anybody that Ben said earlier, which just goes to show that even the best men and the worst men in that movie can eat their words. I do really like that about it; the entire situation is, of course, what makes it so goddamn good, and the horse thing does refrain from making it out of character, but it's properly ambiguous so you never really know.
I actually heard an interesting theory, and I discussed this with enough people to establish that the stronger argument is definitely the one against it (although maybe I say that because it's what I think), that Ben Wade's last words in the movie are not "no" but "now." Anyway, it was cool to think about for a while.
Did you get a hold of the soundtrack? I'm down to one last song on my gift card. It's driving me crazy how .m4p songs won't play in anything else other than an iPod. And WHY isn't it going up on Amazon?! b/c Amazon just got their new music player thing in place where it's copyright free, I think.
Oh, wow, yeah that is really cool to think about. Except his expression and the urgency of his gestures contradicts him saying "Now" if I recall. Nonetheless, that was an interesting theory.
I'm curious though, having not seen many westerns myself I can't say, but how do you think 3:10 compares in the western genre? I've been wondering about this b/c a person I saw it with said it wasn't very traditionally western, whereas I thought it was but I couldn't argue why.
Actually, a lot of people have been giving it a lot of creds for being clearly a western but expressing itself with greater...modernity. I mean, okay. If you want to know how an old western compares to 3:10...think of how an old classic compares with a newer counterpart. I'm trying to think of a good example. Actually, just pick anything with Grace Kelly. If you watch one of those movies, even if its classification is only "drama," you can see how it clearly differs from a modern drama. 3:10 is the same way. It updates itself by not having the characters speak with the long drawl, the colors are not the same, the need for dustiness and grit is expressed differently than it would have been. The reason why the western sort of died is because it got outdated--because technology got better, and because the western lost its excuse for being monochromatic and having unrealistic dialogue and over-the-top plots and sets and costumes. But this one erased all that and just made it a normal movie that happened to take place in that area. As opposed to where the location normally controls the traditional western, in this case, and somewhat ironically considering its actual plot, the location affects the characters, yes...but it is not the driving force of everything. It couldn't happen anywhere else, sure, but that doesn't mean it takes over.
I mean...that's the only way I can really think to compare it. I don't really watch westerns anymore, so I can't seem to think of any specific examples, because they all sort of blended into one western in my brain.
And I haven't gotten it yet. I'm lazy, and I actually don't have iTunes on my computer, so first I have to download iTunes. It's an annoying process.
Yeah, I'm aware most ppl are predicting it'll revive the western genre, etc., but one person I saw it with mentioned it, so I had wondered if there was any argument to be made in that perspective. But how you explained it makes a LOT of perfect sense, especially about it being a film that just takes place in that place and time because that was the impression I got also. So thank you for your input! :)
Well, the western genre is organically reviving itself. Soon, past, whenever they come out wherever one is, we can also expect The Assassination of Jesse James by the Coward Robert Ford, which is getting reviewed pretty well, AND No Country for Old Men, and then we already have 3:10, all three of which I think were conceived of separately from each other (and not in response). And their official release dates are all September (regardless of when they actually show up at a theater near you).
I agree, it was about mutual respect. And in that sense, I think he definitely did it so William could say that his dad put Ben Wade on that train; I saw him getting on the train as a gesture like, only Dan Evans could have put me on this train, I'm getting on b/c of respect for him. AND the implication that he's just going to break out again, that made the seeming character change work for me. I also love that shot of Butterfield watching from afar because it so well-timed, it really made the ending feel epic, like this was going to be one of those legends ppl tell for forever. Which I LOVE.
Seriously, one of the best parts of the movie is that the grey areas were SO FREAKING GTEY, and that was what really kept me in suspense for most of the film :P
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But yeah, I think that's what it was, and it all goes back to that thing about not doing favors for anybody that Ben said earlier, which just goes to show that even the best men and the worst men in that movie can eat their words. I do really like that about it; the entire situation is, of course, what makes it so goddamn good, and the horse thing does refrain from making it out of character, but it's properly ambiguous so you never really know.
I actually heard an interesting theory, and I discussed this with enough people to establish that the stronger argument is definitely the one against it (although maybe I say that because it's what I think), that Ben Wade's last words in the movie are not "no" but "now." Anyway, it was cool to think about for a while.
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Oh, wow, yeah that is really cool to think about. Except his expression and the urgency of his gestures contradicts him saying "Now" if I recall. Nonetheless, that was an interesting theory.
I'm curious though, having not seen many westerns myself I can't say, but how do you think 3:10 compares in the western genre? I've been wondering about this b/c a person I saw it with said it wasn't very traditionally western, whereas I thought it was but I couldn't argue why.
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I mean...that's the only way I can really think to compare it. I don't really watch westerns anymore, so I can't seem to think of any specific examples, because they all sort of blended into one western in my brain.
And I haven't gotten it yet. I'm lazy, and I actually don't have iTunes on my computer, so first I have to download iTunes. It's an annoying process.
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