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| | The New American Old West: Bruno Dumont's Twentynine Palms |
 | | Reviewers of Twentynine Palms have, almost without exception, called attention to the former, citing Psycho (Alfred Hitchcock, 1960), Zabriskie Point (Michelangelo Antonioni, 1970) and Deliverance (John Boorman, 1972) as a few of the film's most obvious forebears (4). |
 | | In the same California desert where novelist Frank Norris's McTeague dies as a result of his greed and jealousy, where John Wayne eternally rides horses and fights savages, where the US Marines unmask devastating firepower in training, David adopts the appropriate pose, driving his army-like truck and fucking his beautiful girlfriend with a near-bestial desperation. |
 | | Twentynine Palms fits comfortably into the art film genre, and, as such, it will likely be appreciated by those most willing to rationally dissect its network of symbols and allusions. |
| www.sensesofcinema.com /contents/04/32/twentynine_palms.html (2345 words) |
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