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Eastwood attempted his own, and a much ballyhooed revival, with Unforgiven, which garnered great attention when the Academy Awards season rolled around - because it, the movie as they say, used the background of the Old West but was a much older play - kinda like The Spanish Tragedy from Thomas Kyd - ahem but everyone tooted that this was a new way, an original and unprecedented approach of using the setting of the Old West to craft a new genre of Westerns, hard-nosed, edgy, gritty, more horror flick than the good ole times.
Almost a decade later, a trio of Westerns made a scheduled pit stop. Tombstone, Wyatt Earp and Dances with Wolves.
Dances of course was hoping to capitalize on the fame of Costner from Silverado and a few extremely well-received baseball anti-hero type movies. From baseball to the Old West, with a frontier movie so far from the mainstream of the traditional Old West it blew away the competition.
And years later another small spurt was made adding lots of FX and futurism to the Old West. The QB receiver and beneficiary, this time around was Wild Wild West, Roswell 1847, Planetfall, Jonah Hex, and Cowboys and Aliens.
Yet all along, in European courts of popular consumption and the general public, the Western never ceased to interest and never faded from view, if you take a quick look at ano-
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