Time Phrase
00:45:15 of her emotional relationship
with her late husband.
00:45:20 Like so much of the film,
00:45:21 this is played through a series
of extended reaction shots
00:45:25 in which the performers facial
reaction says all we need to know
00:45:30 about how they feel,
what they're thinking,
00:49:03 is displayed to full advantage here.
00:49:14 Jill looks through what remains
of her husband's belongings.
00:49:17 What she finds is a series of gifts
that would have been meant for her,
00:49:23 her wedding corsage,
various forms of jewellery, clothing.
00:49:31 She's looking for the money which
she believes her husband has left,
01:08:02 that the James Bond films represent.
01:08:04 He's not a million miles away
from the Ernst Stavro Blofeld
01:08:09 or similarly disabled or disfigured
super villains in the Bond series.
01:08:16 And, of course, Gabriele Ferzetti
whose most distinguished work
01:08:22 was in such European films as
Michelangelo Antonioni's L'Avventura,
02:09:22 between Harmonica and Frank.
02:09:25 And so we're back at Sweetwater.
02:09:27 And a series of sequences
based on the end-of-track segment
02:09:31 of John Ford's
The lron Horse in 1 924,
02:09:34 and equivalent scenes from Union
Pacific or How the West Was Won,
02:09:34 and equivalent scenes from Union
Pacific or How the West Was Won,
02:09:38 or any of the epics
of the laying of the railroad.
02:09:42 A classic series of shots
done in exactly the John Ford way.
02:09:49 And Bronson's
waiting for the protagonists
02:09:52 to come to him for the final climax.
(What's this?)
