Fred Watson, ravaged by consumption, travels to the lonely country known as Dead Man's Gulch in hopes of regaining his health. Accompanying Fred is his family, comprised of Kate, his son Bobbie and dog Mickey.
The first thing that strikes you about Two Kinds of Love is how aggressively the film refuses to beautify expiration. Fred’s consumptive cough arrives like a rattlesnake’s warning—dry, metallic, filmed in unflinching close-up—while the canyon walls of Dead Man’s Gulch bleed ochre light across the frame as though the l...
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Comparing the cinematic DNA and archive impact of two defining moments in cult history.
B. Reeves Eason
B. Reeves Eason
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" The first thing that strikes you about Two Kinds of Love is how aggressively the film refuses to beautify expiration. Fred’s consumptive cough arrives like a rattlesnake’s warning—dry, metallic, filmed in unflinching close-up—while the canyon walls of Dead Man’s Gulch bleed ochre light across the frame as though the landscape itself were tubercular. Director B. Reeves Eason, usually dispatched for saddle-sprinting serials, slows the tempo to a death-march, letting intertitles linger long enough..."
B. Reeves Eason, Douglas Z. Doty, John Colton
United States
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