This is a gorgeous, well-contextualized restoration of one of the greatest and most mercenary of all American comedies.
Howard Hawks’s first western arrives in a handsome dual-format package from Criterion including the long-unavailable theatrical cut of the film.
That multitude, with regard to films, is rather restricted to a specific kind of cinephilia, primarily an overt emphasis on Classical Hollywood.
Meeuf calls on much example-based evidence to support his claims, though the strongest arguably come from his compelling and enjoyable discussion of the difference between one-sheet posters in various nations.
Of course, film ain’t fiction, so to speak, and his first book length effort on crime films is like a Webley revolver with a sticky trigger; it works, just not as fluidly or efficiently as one would like.
The most creative periods for the movies seem to occur about every 30 years, usually triggered by the advent of some new technology.