Don (1978), is not perfect. But I didn't want anything else afterward, and customer satisfaction has to count for something, right?
|Yep. That's Zeenat Aman stealing a light from Mac Mohan.|
And if all those analogies make it sound as if Don is something to be consumed happily and frivolously and without thought--then you would be right. But it also doesn't mean I wouldn't gleefully return to it time and again. Who doesn't want to catch up on some sleep (or a five course meal) once in a while?
Wait. How did that get in there?
Pran explains it best:
The ending was RAD/FAB and reminded me of this scene:
|Finale of The Good, the Bad, and the Ugly (1966)|
Maybe it's just the undying "Buffy the Vampire Slayer" lover in me, but I never get tired of people fighting in graveyards. The setting itself adds instant gravitas to any fight--especially when people start falling into open graves. Gravestones constantly save peoples lives as they duck behind them, which is just a deliciously subconscious irony. Plus, any time people, (esp. heroes) trod so confidently across "sacred ground," it smells of sedition at best, and desecration at worst. All of which adds up to action sequences that are more than the sum of their parts.
Take the showdowns of spaghetti westerns, the car chases and music and general aesthetics of 70's cop shows, a classic Separated-via-Masala Madness family, a final third that reads a lot like "The Fugitive," a teaspoon of Andy Garcia playing the baddie in random gangster films, and the kick-ass girl roles of every Joss Whedon TV serial ever . . . injecting some innocents who need saving and numerous injustices to be redressed, and you have a ticklishly entertaining film on your hands.
I really can't complain.