Progressives Blast Mamdani for ‘Escalating’ Arrests of Black and Brown New Yorkers for Low-Level Offenses
By JENNIFER DOHERTY
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This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
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The Italian-produced, Spanish-shot, and internationally cast cowboy movies of the 1960s, known on these shores as spaghetti Westerns, have been admired and appreciated by Japanese film buffs (who refer to them as “macaroni Westerns”) for four decades. The fact that Sergio Leone’s initial international success, 1964’s “A Fistful of Dollars,” was lifted from Japanese filmmaking maestro Akira Kurosawa’s 1961 “Yojimbo” (Kurosawa had borrowed his own influential both-sides-against-the-middle plot structure from the American detective author Dashiell Hammett) offered Japanese audiences a familiar and flattering pop-culture reflection. The low-budget Italian filmmaking practice of relying on strong visuals rather than crudely dubbed-in dialogue to tell a story insured that Japanese audiences did not become lost in the translation.
By JENNIFER DOHERTY
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By CARLOS SOUSA
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By BRADLEY CORTRIGHT
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By MARTIN PENGELLY
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By DEAN KARAYANIS
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By CARL ROLLYSON
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By LAURENCE ELDER
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By BENNY AVNI
|The Italian-produced, Spanish-shot, and internationally cast cowboy movies of the 1960s, known on these shores as spaghetti Westerns, have been admired and appreciated by Japanese film buffs (who refer to them as “macaroni Westerns”) for four decades. The fact that Sergio Leone’s initial international success, 1964’s “A Fistful of Dollars,” was lifted from Japanese filmmaking maestro Akira Kurosawa’s 1961 “Yojimbo” (Kurosawa had borrowed his own influential both-sides-against-the-middle plot structure from the American detective author Dashiell Hammett) offered Japanese audiences a familiar and flattering pop-culture reflection. The low-budget Italian filmmaking practice of relying on strong visuals rather than crudely dubbed-in dialogue to tell a story insured that Japanese audiences did not become lost in the translation.
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