Reviews on movie Gone Are the Days (2)

On a ranch without a name and coordinates, old Taylon lives on. Gibara already serves as a haven for rats, the water in the well has become mud, and the winds dry up the crop. Taylon is old, infirm, writhing in fever, teetering on the verge of visions and reality. But one morning brings the old man relief. Taylon takes his bones, strapping his hat, heading towards the big city. The surge of strength gives him hope for forgiveness of sins, because if you think about it, what kind of person will choose the wilderness as a habitat?
Life is given to burn. That would sound like the principle of all bad guys. The wild west is full of subjects not of first freshness.
Some of them are dying and some are getting old. The world around us is losing momentum and color. But will the excitement stay or not? Does this crusade of decrepit flesh make sense? These and other questions will try to answer a veteran of character roles, and just a tough guy Lance Henriksen.
The story turned out slowly-slowly, anti-action if you will. The end of the era of tough guys in cowboy hats and the truth here is written out very meticulously. But it's still my friend Lance. He famously portrays a man who, clinging to life, seeks to fix everything, in fact, we can assume that Taylon is a metaphor for the thugs of the wild west going into the sunset in the format of time. Or maybe just the story of a seasoned badass who decided to achieve redemption.
Like the cherry on the cake, Danny Trejo. He usually jumped in for four minutes of screen time, but this time appeared brightly and without notes of hacking. But Tom Baringer did not deliver completely, because the role was boring, you could squeeze Eric Roberts into his place. Heh heh.

Going back to Lance, I like his Taylon because he didn't have that caricature of heroism or brutality. There is a hero with a traumatic heart, and an revealed character. Those who expect powerful shootouts or fights from the film, go by. There is a philosophy of life that fades with man.

A decrepit old man, standing at the threshold of death, is haunted by the bloody ghosts of his bandit past. Repentance drives him to his last journey, to face the past face to face and can be earned by someone’s forgiveness.
The plot is moderately banal, but organic - it is quite possible to squeeze a beautiful story. But ... reviewing the final average of 5 out of 10 in all editions, it would be very difficult for me not to spoil, so I will limit myself to a short note after watching:
It's an extremely short story. Short in the framework of current events and at the same time too long in the debut. The whole first half of the film, the main character performed by Lars Henriksen falls asleep on a horse, dragging the viewer into his sleep. Of course, I exaggerate a little, but with the demonstration of the infirmity of the main character, too much, given that nothing much is happening around. And you do not know whether to praise Henriksen (and this is certainly a well-deserved wonderful actor) for the role, or vice versa to doubt whether he plays, or really so old and passed that it is enough for him to somehow move around the set, avoiding makeup artists. There is something so modern about this old man. From a hardened bandit in the wild west, even in hundred-year-old gray hair, you expect more dryness and veins, or something. According to logic, he can get to the expected final only in an ambulance, connected to modern life support devices. But, this is pure imho (s) and in general we open the veil of spoilers, stop!
Of course, everything is old in this film, or rather everything. I look at Sheriff Tom Berenger and I think, ‘Damn it! And the sniper, though young, and not the same. Danny Trejo as a ferryman also somehow imperceptibly deflated to the image of an old rotten kaloshi. And you look in confusion, not understanding how to evaluate the act of images.
Against the background of the old man, the emotions issued in the frame by plotting unremarkable characters - the three children in the town where the main character went, seem extremely alive, bright. The audience prize for acting I want to give these children. And again, I, as a viewer, have a dissonance – I see what I see, or this is a subtle directorial move that emphasizes the “oldness of days past.”
But abandoned in the debut tricks with two coins and a strange young partner of the old bandit immediately lay in the mind of the viewer a possible interesting development of this hook, and in the finale you are even pleased that everything turned out exactly as you assumed. And there is not even a single thought of predictability or linearity. The picture somehow immediately from this is going into a single understandable canvas without white empty spots, and this is undoubtedly a plus.
In general, the film was evaluated ambiguously, my final 5.5. out of 10, oddly enough, is a normal neutral mark. I didn’t have a lot of saturation, especially from the beginning to the middle of the film.