Best Western intro ever....

[Wapaloosie73 765]

 

[Capt. R. Hugh Kidnme 665]

Agreed. Then my second favorite, is similar to this. It's from Hostiles. Change of emotion in a few seconds from serene to terror. 

 

Quickly goes from a very happy, placid scene (home schooling) to a violent, murderous scene (home invasion).

[Dr. O. R. Vet 50]

HAHAHA!  I thought this was going to be a new video of a Best Western hotel chain advertisement.  It was the "Best Western" that fooled me.  HAHAHAHA.

[Capt. James H. Callahan 505]

I nominate the opening scene of Silverado.

 

[Rye Miles #13621 3,354]

At Firelands we used the line, "Ya'll killed two cowboys" and then threw a red sash on the ground!! Pretty cool!!

[Pat Riot, SASS #13748 10,909]

28 minutes ago, Capt. James H. Callahan said:

I nominate the opening scene of Silverado.

 

I was thinking the same thing, Captain. 

[J-BAR #18287 2,856]

No argument with either Tombstone or Silverado.

 

Two others were also enjoyable also;  The Wild Bunch took me by surprise when Pike said, “If they move, kill ‘em!”  Didn’t expect soldiers to be bad guys.

 

And the opening scene of The Good, The Bad, And The Ugly:  you expect the first three guys you see to draw on each other, but surprise!

 

 

 

[Wapaloosie73 765]

 

[Tom Bullweed 120]

Duke Wayne in Stagecoach.

 

[Seamus McGillicuddy 133]

I was so angry at that idiot homesteader at the opening of “Hostiles” the way he charges out into the open firing his Henry ineffectively at the Indians.  His house was like a fort and he should have been able to give the wife and kids much more time than he did if’in he’d forted up and actually taken some of them out instead. 

 

Seamus

[DocWard 3,114]

Not the best opening scene, but one of my favorite character introductions, ever:

 

 

[Marshal Mo Hare, SASS #45984 3,990]

For introducing the bad guys it’s a good opening but for just murdering a party of unarmed or lightly armed folk, I can’t agree.

[Wapaloosie73 765]

24 minutes ago, Marshal Mo Hare, SASS #45984 said:

For introducing the bad guys it’s a good opening but for just murdering a party of unarmed or lightly armed folk, I can’t agree.

 

I think it completely sets the tone for the upcoming conflict of good vs. evil. The 30 riders riding across the desert with that ominous music in the background would make most men buckle and run. Wiping out the contingent of Mexican Police helps immensely.

 

Wyatt and his “Immortals” crew run em all down and kill em.

 

In the end? Good wins.

 

Of course in real life it wasn’t that way. The cowboys were loved. Hometown boys. The Earps and Holliday were hated. New comers. Northerners. Law dogs. Trying to muscle in.

 

Wyatt Earp is somewhere smiling down now. 

[Forty Rod SASS 3935 3,516]

23 hours ago, Wapaloosie73 said:

 

Why do you suppose those dumb-ass cowboys ride into town and then load their guns?

[Wapaloosie73 765]

24 minutes ago, Forty Rod SASS 3935 said:

Why do you suppose those dumb-ass cowboys ride into town and then load their guns?

 

Because it’s cinematic effect! Cocking a lever action or spinning a cylinder? Super cool. For the audience that is...

 

Besides...... why didn’t the dumb ass Police not shoot them while they were loading their guns? Seems to me that’s the real question.

[Wolfgang, SASS #53480 189]

On 4/20/2019 at 7:50 AM, J-BAR #18287 said:

No argument with either Tombstone or Silverado.

 

Two others were also enjoyable also;  The Wild Bunch took me by surprise when Pike said, “If they move, kill ‘em!”  Didn’t expect soldiers to be bad guys.

 

And the opening scene of The Good, The Bad, And The Ugly:  you expect the first three guys you see to draw on each other, but surprise!

 

 

 

 

Hell of an opening.  Al Mulock's appearance in the wild western ( Spanish ) landscape, the dog that pulls the viewers eye,  then the riders in the distance that were not noticed as the eye followed the dog, . . . then the back and forth between Mulock and the riders, . . . no way to know what it is all about . . . absolutely FANTASTIC film making.      . . . .