4,5. 35mm. A little less stereotypical secondary characters, as well as the bourgeois couple relationship, and this film would be the masterpiece that it is in most of its length. How many contemporary North-American filmmakers can claim this ability to shoot and edit, this inebriated narration rhythm? A great classic that begins with Walsh or Fuller's kinesthesia and ends with Ford's redemption of "Cheyenne Autumn".
Michael Cimino ends his career the way he started it: with a road movie. But, unlike Thunderbolt and Lightfoot, which turns itself into a heist movie, The Sunchaser evolves into a western, where again one of the protagonists dies, but this time their and our sins are redeemed, with the help of that beautiful landscape. It's sad this man wasn't given the credit he deserved. Truly one of the greatest filmmakers ever.
Beyond the injurious reputation that has dogged Cimino's latter career, I'm increasingly surprised at how happily endurable each "disasterpiece" I've come to see has been, to the extent that I have to wonder by what faulty metre a "disaster" is qualified.