![]() among others) but turned to be entertaining. The motion picture was regularly directed by Terence Young (Dr.No, From Russia, Thunderball. Considerable and spectacular musical score by Maurice Jarre (Lawrence of Arabia). Besides, there appears usual secondaries from Italian Western such as : Anthony Dawson, Guido Lollobrigida or Lee Burton, Ricardo Palacios, Bernade Barta Barry and several others. Pretty good Charles Bronson in his ordinary tough role, this film is one of Charles Bronson's 70s westerns his westerns made during the 1970s include Chino by John Sturges (1973), Red sun (1971), Chato the Apache by Michael Winner (1972), From noon till three by Francis D Gilroy (1976), Nevada Express by Tom Gries (1975) and The White Buffalo by J.L. born Charles Bronson, Japanese actor Toshirô Mifune, French actor Alain Delon and Swiss actress Ursula Andress, it was filmed in desert of Tabernas, Almeria, Spain, as usual, by the British director Terence Young. ![]() A clever premise, gunslingers against samurais, and agreeable international cast make this oater well worth the watching. It's an improbable blending of standard Western, tongue-in-cheek and chop-socky. The picture contains an interesting plot, Western action, shootouts and a little bit of campy and refreshing humor. Bronson as another of his two-fisted gunfighters and joining forces with a Katana expert, a specialist on martial arts well played by Toshiro Mifune to find a missing valuable blade and the stolen loot. It is a surprisingly low-key Bronson/Delon Western, this time accompanied by the Japanese star number one, Mifune. But Bronson (one of The Magnificent Seven) is double-crossed by Delon, then Toshiro Mifune (one of the Seven Samurai) along with Bronson team up as two unlikely heroes. The thieves result to be Charles Bronson and Alain Delon. This Spaghetti Western with enjoyable casting (Bronson, Mifune, Delon and Andress) concerns the robbing a Japanese blade from a train crossing American West and the Japan Ambassador had for gift of emperor (the Japanese Ambassador refers to the emperor as the "Mikado") to US President. Kuroda Jubie: I think you are one son of a bitch. Kuroda Jubie: You have my word, I will not kill the man until you say. You're gonna end up in Japanese hell, a disgrace to your ancestors. By nightfall you'll be frozen into the landscape, and you'll never avenge your friend or never get your sword. Won't be long you'll be nothing but a clump of ice. Link Stuart: All right, you suit yourself. Kuroda, I need the time to make Gauche take me to the cash. Kuroda Jubie: Give me five minutes with him. Link Stuart: Don't know what the hell that's all about, but it sounds like it's comin' from the heart. The space on the page wrestles with the eye in an effort to wrench words into fragments so that the letters on the page become images as opposed to linguistic icons.Link Stuart: I'll give you your clothes, but first I want your word of honor that you won't kill Gauche on sight. Howe resists this cultural imprint by creating and acti¬ vating space between letters, setting up, not what the visual arts designate as negative space, but a space that is intrusive, that interferes in the anxious effort to “make sense” of the let¬ ters. We are taught in western cul¬ ture to read from left to right and to group letters according to distance, and so, in Howe’s poetry the eye feverishly endeav¬ ours to serve as a thread between letters and words, suturing them together to permit a reading, an understanding of the poem. While Howe went on to become a poet, the impulse of the visual remains in her poetry, setting up a tension be¬ tween the visual and the literal. She used to in¬ corporate language of various sorts in her pieces, and the story goes that one day she was working in her studio and a friend came in, looked at her work, and said, “This is a poem”1 (Kel¬ ler 5-6). Susan Howe was trained as a visual artist. HINGED, CONTINGENT, JOINED: SUSAN HOWE’S “HINGED PICTURE”
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