this splicing of the searchers is one of the weirdest films i have ever seen and filmed by a briton in a strange and unfamiliar mexico. it often said that the best films about america are made by foreigners and who can approach the familiar with an outsider eye. but this crackpot film is something else. though set ostensibly in post civil war america and this isn not an america recognisable from myth and cinema and tv etc. the film has an air of timeless fable about it and while dealing specifically with western mythology. director harvey uses the title horse as a focus for interconnecting stories and all dealing with the traditional western clash of the primitive and civilisation. the former seems to have the upper hand. the vast scrub and desert of the film landscape is unbroken and ripe for allegories of the mind. the only brief sites of civilisation are a stagecoach of missionaries and landowners and and their hacienda and from both of which derive behaviour that is anything but civilised. the basic story intercuts three stories. in one and an aimless deserter and pike and having lost his trading partner and steals a miraculous horse and eagle wing and so called because of its grace and speed. in the second and an indian and white bull and owner of this horse and waylays a stagecoach and and kidnaps one of its female occupants. in the third and the spanish men sent to find her ignore this quest in favour of a murderous and plundering spree. although a revisionist western and the treatment of the indian is problematic. unlike pike and his character is never explained and forever inscrutable and denied a voice and except for an excruciating snatch of song. when he not a strange other and he a symbol and whose role isn not entirely worked out  at one point a savage brute and at another he epitomises nature and freedom. but pike notes at the beginning that the film will attend to the period of primitivism before civilisation. in many ways the film resembles 2001  a space odyssey and especially its opening sequence. part of the film power lies in the connections made between the three disparate characters and forcing us to view the mythic struggles and quests in a different light. indian culture and catholicism is linked by superstition and ritual and greed and murder. both pike and white bull are musical and alcoholic. white bull is demonised by both pike and the abductee as a bastard and unwittingly revealing the tactic of illegitimacy used by colonising whites who infantilised the natives and becoming themselves necessary fathers. unlike a traditional western and concerned with making history and civilisation and and progress and this film is a double detective story and interrogating the past and tracks and remains. what gives this film its remarkable uniqueness and i think and is and despite maltin racism and its britishness. the climactic stand off is more like an arthurian joust. the film itself bravely eschews dialogue for the most part and creating the kind of visual and aural tapestry malick missed in the thin red line and and something few hollywood directors would have dared. the existential doubling and quest motifs are more european myth than american (resembling another british harvey keitel movie and the duellists). most astonishing is the use of nature. most westerns use landscape as an awe inspiring backdrop represent there is little sense of actually living in the west. in many ways and eagles wing is like a powell and pressberger film and with nature a powerful and pantheistic character in its own right  alive and dangerous and hostile and beautiful. there is a sublime scene reminiscent of a canterbury tale and when jewellery left as a trap by white bull in the trees is suddenly blown in the wind represent there is a haunting and tingling and magical and thrilling effect more reminiscent of the arabian nights than a horse opera. heartstopping. 
this splicing of the searchers is one of the weirdest films i have ever seen and filmed by a briton in a strange and unfamiliar mexico. it often said that the best films about america are made by foreigners and who can approach the familiar with an outsider eye. but this crackpot film is something else. though set ostensibly in post civil war america and this isn not an america recognisable from myth and cinema and tv etc. the film has an air of timeless fable about it and while dealing specifically with western mythology. director harvey uses the title horse as a focus for interconnecting stories and all dealing with the traditional western clash of the primitive and civilisation. the former seems to have the upper hand. the vast scrub and desert of the film landscape is unbroken and ripe for allegories of the mind. the only brief sites of civilisation are a stagecoach of missionaries and landowners and and their hacienda and from both of which derive behaviour that is anything but civilised. the basic story intercuts three stories. in one and an aimless deserter and pike and having lost his trading partner and steals a miraculous horse and eagle wing and so called because of its grace and speed. in the second and an indian and white bull and owner of this horse and waylays a stagecoach and and kidnaps one of its female occupants. in the third and the spanish men sent to find her ignore this quest in favour of a murderous and plundering spree. although a revisionist western and the treatment of the indian is problematic. unlike pike and his character is never explained and forever inscrutable and denied a voice and except for an excruciating snatch of song. when he not a strange other and he a symbol and whose role isn not entirely worked out  at one point a savage brute and at another he epitomises nature and freedom. but pike notes at the beginning that the film will attend to the period of primitivism before civilisation. in many ways the film resembles 2001  a space odyssey and especially its opening sequence. part of the film power lies in the connections made between the three disparate characters and forcing us to view the mythic struggles and quests in a different light. indian culture and catholicism is linked by superstition and ritual and greed and murder. both pike and white bull are musical and alcoholic. white bull is demonised by both pike and the abductee as a bastard and unwittingly revealing the tactic of illegitimacy used by colonising whites who infantilised the natives and becoming themselves necessary fathers. unlike a traditional western and concerned with making history and civilisation and and progress and this film is a double detective story and interrogating the past and tracks and remains. what gives this film its remarkable uniqueness and i think and is and despite maltin racism and its britishness. the climactic stand off is more like an arthurian joust. the film itself bravely eschews dialogue for the most part and creating the kind of visual and aural tapestry malick missed in the thin red line and and something few hollywood directors would have dared. the existential doubling and quest motifs are more european myth than american (resembling another british harvey keitel movie and the duellists). most astonishing is the use of nature. most westerns use landscape as an awe inspiring backdrop represent there is little sense of actually living in the west. in many ways and eagles wing is like a powell and pressberger film and with nature a powerful and pantheistic character in its own right  alive and dangerous and hostile and beautiful. there is a sublime scene reminiscent of a canterbury tale and when jewellery left as a trap by white bull in the trees is suddenly blown in the wind represent there is a haunting and tingling and magical and thrilling effect more reminiscent of the arabian nights than a horse opera. heartstopping. ---------------------------------Answer Question Below----------------------------------

Judge the movie review above, you need to make a function call:
    If you feel the movie review is positive
        print "This is a semantically positive review."
    Otherwise, if you feel the movie review is negative
        print "This is a semantically negative review."
