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Englund, a generation older, wasn't hip to that. But the young group also wanted to subvert such expectations and promote the era's anti-war movement by showcasing peace and pacifism and somehow diffusing that final shootout. Weaned on golden-age westerns such as High Noon (1952), Shane (1953) and Gunfight at the OK Corral (1957), Firesign were keenly aware of what a western should look and feel like: dusty desert roads, solitary strangers with shady pasts, pistols at dawn and the climactic duel between good and bad. We wanted to dot every t and cross every i." "We were thrown into this tumultuous situation," Phil Proctor tells BBC Culture, "with a director who was visually oriented and an extremely literate producer who was asking us to cross every t and dot every i. The director didn't like dialogue, so he quit, leaving producer George Englund to take charge.
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The troupe pared back Massot's visual flourishes to make space for new gags and new dialogue. You want to get on that horse." Firesign saddled up in June 1969. "That's the first thing you want to write.
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"Every boy wants to be in a western," David Ossman, who formed Firesign with Peter Bergman, Phil Austin and Phil Proctor in 1966, tells BBC Culture over Zoom. This was going to be their big break in Hollywood. The US group's satirical radio broadcasts and comedy albums – made by hippies, for hippies – would go on to be influential across the audio-comedy spectrum. ABC Pictures eventually optioned it and hired surrealist four-man comedy troupe the Firesign Theatre to punch up the script. Drummer Ginger Baker was attached to star too. Brigitte Bardot was earmarked for the role of sultry showgirl Belle Starr. Massot wanted Bob Dylan to play the eponymous character and The Band to play the Crackers, the film's literal band of outlaws. Lennon would later be instrumental in catapulting El Topo to cult status by praising it publicly perhaps he could do the same for Zachariah. Massot was in talks with the Beatles' Apple Films to produce the movie. It was to be a deeply psychedelic movie, a western characterised more by its out-there visuals than by any moral message. Massot based his screenplay on Hermann Hesse’s novel Siddhartha (1922), a tale of two friends and their divergent paths towards enlightenment. There, while Harrison and John Lennon were locked in a meditative stand-off to see who had the stronger resolve, Massot was struck by the idea of two friends duelling in the desert for spiritual supremacy.
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Following its release, Massot found himself in India, engaged in transcendental meditation alongside the Beatles. Zachariah was dreamt up by writer-director Joe Massot, whose debut feature Wonderwall (1968) had been scored by George Harrison. Like Kelly Reichardt's recent First Cow (2019), and Jane Campion's Oscar-tipped The Power of the Dog (2021), Zachariah shot back at the genre's fatalistic masculinity by celebrating peace, pacifism and, most remarkably, intimate male friendship. But it's in the communion between its protagonists Zachariah and Matthew that the film's most meaningful messages are found. Ostensibly set in the late-1800s, it boasted an anachronistic, diegetic soundtrack from 1960s rock acts such as the James Gang, White Lightning and Joe McDonald, and plays out as part dusty Woodstock concert film, part acid western à la El Topo (1970), and part pre- Blazing Saddles (1974) genre parody. Released in 1971 and billed as "the first electric western", Zachariah was chiefly a musical comedy. The legacy of The Good, the Bad and the Uglyīut amid these hard-boiled westerns came a different, and softer, film. Why El Topo is the weirdest western ever made
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Though ostensibly designed to convey the death of the Old West, these end-of-the-line westerns also echoed the way the flower-power fantasy wilted in the wake of the Tate-LaBianca murders, the violence at the Altamont Speedway Free Festival, and the escalating tensions of the Vietnam War. Many more westerns of the era had similarly shocking, symbolic conclusions. Released in 1969, Butch Cassidy and the Sundance Kid, The Desperados, and The Wild Bunch all ended in calamity and bloodshed, all their key players slain. But the western had it in its sights too. Bonnie and Clyde (1967) and Easy Rider (1969) foretold the death of the hippie dream. As the idealistic 1960s gave way to the cynical 1970s, US cinema began serving up increasingly nihilistic and psychologically complex stories, all with sour endings to match.