Bykevin stewart, writer at
From Mattel's Viewmaster to a master of viewing, writing and expression
kevin stewart

This is just a teaser. Please stay tuned to my profile as I get my thoughts in order. While Hell On Wheels is deserving of a treatment itself; I will focus on it as a cinematic slavery motif. My argument being that not since Quentin Tarantino's Django Unchained have we witness such a resurgence of movies where a slave(ery) or (in the case of HELL ON WHEELS) ex-slaves i.e. Freedmen are featured. This is noteworthy and worthy of investigation since slavery itself causes such a rift among American viewers. Secondly while Django Unchained was more a fantasy it did further the slavery genre in like manner as Inglorious Bastards did WWII filcks.

Now as to Hell On Wheels (now in its third season) I have to disclose to my readership that I do not watch television per se. I watch DVD's. That Is how I came to learn of HELL ON WHEELS. A family member switch to his DVR recording. Perish the thought that I should remain such a prudish connoisseur of my cinematic delights and expect to remain abreast as a contributor to this website, I will consider getting connected. In the meantime bear with me as I write about concepts within the films (and televisions series) I dare to write about.

Suffice to say that whereas I love villains, my loyalty to Javier Barem's protrayal of the villainous Anton Chigurh in the Coen Brothers "NO COUNTRY FOR OLD MEN" may be replaced with Christopher Heyerdahl dastardly deeds as "The Swede" in HELL ON WHEELS


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