The Dark Valley

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Robert J @Robbob67 Sep 21 Critics off on this really well done revenge cowboy movie but in Austria the cinematography was beautiful liked it a lot . Hard to find good westerns anymore See more Brent M @Drbrent 11/18/2023 This was an intense, taut revenge western with unforgettable casting, particularly of the protagonist and the villains. The scenery was haunting, realistic and raw. See more Nick R 04/02/2023 An Austrian Western - who knew something so obscure would be so good? Absolutely fantastic film, assuming you like Westerns. If you do, this is about as good as they get. Revenge is a dish best served very, very, very cold (and preferably in the deep snow). My only beef was with the musical score, which could have done with some work. Otherwise, this is a film I go back to often and enjoy more and more each time. See more 07/25/2022 I've read lots of criticism regarding this movie, but I just can't agree with most of it. First off, I would never label the protagonist as "uninvolving". Whilst not exactly being well characterized, the protagonist sure does enough to get you interested in whatever it's going on. I'd also like to say that, whilst having a plot that is not too uncommon amongst others of this genre, this movie still manages to feel very different thanks to its setting and the way its unfolding is handled. Most of all, this movie can be appreciated for feeling really unique, which is something that can't be said for even some of the top rated ones of the same genre. After watching all of the classics by Sergio Leone, I wanted to taste something a bit different, and that's exactly it. See more 03/04/2022 A western without an American. A man goes back to his mother's homeland for revenge on what happened. Watch Mozart's "Marriage of Figaro" The landlord or Duke or whatever had first rights to sleep with the virgin bride of one of his domain. This went on in some areas of Europe until the late 19th Century. People were slaves without the title. See more 09/01/2021 Andreas Prochaska's western presents elements familiar to the genre: a handsome stranger (Sam Riley) rides into a remote and miserable town to be greeted with scorn by the inhabitants; the contempt recedes a bit when he generously distributes gold coins. The town is controlled by a cadre of ruffians captained by a scowling thug (Tobias Moretti). The locale is not the high plains of the American West. It is a village in the Austrian Alps. Nevertheless, all of the particulars in Prochaska's setting are well rendered particulars of an American western. The Austrian-German production gathered a sack of German film Awards, but failed to impress in the wider world, earning a scant 33 percent critic's score on Rotten Tomatoes. The movie is neither as good as it's awards indicate nor is it as bad as the RT percentage suggests. The elements of this revenge tale are, indeed, too familiar. But Thomas Kiennast's cinematography is outstanding and is rightly comparable to Vilmos Zsigmond's work on McCabe and Mrs Miller. Snow laden vistas shot under overcast skies hold a bluish tone and contrast with warm toned interiors that appear to originate from ambient light. Muted gold hues from lamp and candle flames illuminate faces on the source side, receding into gradients of shadow on the other. The cinematic Caravaggios illustrate the inescapable discomfort of the characters. The colors of the interiors are warm, but from mouths and noses arise curls of breath. The volume of vapor conveys the intensity of the cold outside. The muzzles of horses jet white plumes like steam engines. And the discomfort inflicted by the elements is conveyed by closeups: stiff reddened hands struggle to grasp shotgun shells, ruddy wind lashed faces are rigid. Kiennast's landscapes—vast expanses of snow against gray streaked mountains—are unremittingly gloomy. His tight shots—small puddles of melted snow as boots traverse hardwood floors—further indicate that there is little respite from the oppressive conditions. In particularly notable closeup, a white wisp rises from the metallic panel of a rifle as a warm shell is ejected. When the predictable shootout occurs, the snow intensifies the drama. Like the adversaries in McCabe, the protagonist and the villains labor to maneuver through the snow. And the horror of gunshot wounds is graphically captured by vivid blood spatters of varying extent and density, the droplets and pools melting the snow. (The director and crew clearly studied the ways in which angles of impact affect paths and patterns.) Realism is a hallmark of the film. The firearms, clothing, furniture are authentic in detail. Hats, belts, saddles exhibit wear. These particulars assist in immersing the viewer in the action; the scent of leather and wet wool are nearly palpable. Performances are difficult to judge in a dubbed version. Still, Sam Riley presents himself as affable and composed, Tobias Moretti is suitably menacing. The resolution has been described as flat. In the opinion of one critic it leaves the audience pondering, "so now what." This can be said of nearly any such movie. An aspect of this one that is laudable is that there is a clear indication that even if tyranny is expelled, the difficulties of life will continue. See more Read all reviews

The Dark Valley

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