The Shadow Riders (1982) Review

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(More customer reviews)"The Shadow Riders" has all the grit, matter-of-fact speech, incredible landscapes and action of a great Louis L'Amour book. Tom Selleck, Sam Elliot and Jeff Osterhage also starred in "The Sacketts" in 1979, and do just as fine a job in this movie as that one.
The part that will surprise you is how strong the female lead role is. Katharine Ross does an excellent job as the fiesty Kate Connery, the love interest of Dal Travern (Sam Elliot). She had as good a character and as much screen time as many of today's heriones -- a highly unusual circumstance in the early 80s and certainly unusual for the genre.
"The Shadow Riders" has a great mix of romance, action, humor and good old fashioned Western elements. This mix makes the film appealing to a much wider audience than just Western fans or Louis L'Amour fans -- although they will come away thrilled.

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When the Western slipped into theatrical oblivion in the late 1970s, many of the best examples of the genre began appearing as made-for-television films. After the success of "The Sacketts", from the Louis L'Amour novel, producers quickly reunited stars Tom Selleck and Sam Elliott in another fine adaptation of a L'Amour book, "The ShadowRiders". As brothers Mac and Dal Traven, sporting blue and gray uniforms, respectively, they wind their way home at the close of the Civil War to discover a band of confederate rebels have ravaged their town and kidnapped their sisters and brother and Dal's feisty sweetheart (Katharine Ross). With the help of their outlaw uncle (Western stalwart Ben Johnson), whom they must break out of prison, they track the guerrillas to the Gulf Coast and down into Mexico for a final, fatal showdown. Veteran director Andrew McLaglen sets this TV movie on a loping pace and a jovial tone, defined largely by Selleck's easygoing performance and the jocular comic relief of rascally Johnson. Elliott provides the intensity, at times positively ferocious under his heavy brows and burning, sunken eyes. The mood is occasionally too comic, but McLaglen delivers the goods in a series of gritty action sequences, proving that old Western directors don't die, they just drift on over to the small screen. Western icons R.G. Armstrong and Harry Carey Jr. and 1950s leading lady Jane Greer also appear in key roles. "--Sean Axmaker"

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The Wild Bunch - The Original Director's Cut (1969) Review

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(More customer reviews)There's not much that can be noted about Sam Peckinpah's brilliant 1969 western epic "The Wild Bunch" that has not already been written. It was an unanticipated, influential work where all things came together, but for a moment, the end product a huge, sweeping canvas of intimacy between comrades, violence between combatants, desperate anger amidst changing times. Part Kurosawa, part Siegel, part Fuller, part Ford, Peckinpah combined his inspirations with a healthy dose of 1960s rebellion producing the ultimate work of his generation, and one of the greatest westerns in history. It was Peckinpah's great fortune that the right actors were available for this film - William Holden and Robert Ryan in the twilight of their memorable careers, Ernest Borgnine with just enough youth to be a perfect and loyal presence, Edmond O'Brien chewing up the scenery with tobacco-stained teeth, and of course Peckinpah friends Strother Martin, L.Q. Jones and Warren Oates in salty supporting roles. It was also his great fortune cinematographer Lucien Ballard and composer Jerry Fielding were also on hand to participate in his steadfast vision.
Peckinpah also had something to prove at this point in his career, when he was still a hungry director with a vision, before alcoholism, disillusionment and celebrity status took hold. He hid nothing from viewers, and his contradictory heart was laid bare in "The Wild Bunch." The direction and editing during the violent moments of this film - the opening bank robbery and the concluding battle with the Mexican army - are some of the most unforgettable scenes ever put on film. But ironically, and this was usually the case in most Peckinpah films, it is the quiet moments one remembers. Pike (Holden) and Dutch's (Borgnine) melancholy conversation next to a campfire; The Bunch riding out of Angel's village as if in a funeral procession; Deke (Ryan) taking Pike's pistol from it's holster, gently holding it in his hand; and of course Pike standing in the doorway and mouthing two simple words, "Let's go."
And of course you have The Walk, in which Holden, Borgnine, Oates and Ben Johnson quietly begin loading their guns, cocking them, arming themselves, smiling at one another, standing shoulder to shoulder. There's not much left for these forgotten outlaws who have lived past their time. Just a code of honor, just their self respect. And so they Walk into the heart of the Mexican army to retrieve their comrade Angel, a prisoner and personal enemy of General Mapache. These surviving members of The Wild Bunch are free to go, but Angel, youthful, love-struck, rebellious, was one of them. They are not going to leave their comrade.
After viewing the extraordinary documentary "The Wild Bunch: An Album In Montage" and seeing the rare footage of Peckinpah literally improvising The Walk, walking alongside Holden, Borgnine, Oates and Johnson, inventing by instinct, one realizes how fiercely creative this man was as a director. This film was his moment in time, his vision, his idea, Peckinpah's nightmarish and amazing dream.
Peckinpah never really made a film quite like "The Wild Bunch" again. Of course, no director ever really has before or since. His uneven career of 14 films, some good, some not, has been celebrated and honored. Peckinpah the man, adorned in faded jeans and bandanna, certainly perpetuated his myth-like status. But in the end, you will always have "The Wild Bunch," an unforgettable film, raw, gritty, whiskey-soaked, sublime. I cry whenever I watch this film. I cry in awe. All things came together for Peckinpah on "The Wild Bunch," and the moment is everlasting.

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DIRECTOR SAM PECKINPAH'S MASTERPIECE IS A WORLD CLASS WESTERN,NOTABLE FOR ITS DARING CINEMATOGRAPHY AND LANDMARK VIOLENCE.

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Louis L'Amour's The Sacketts (1979) Review

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(More customer reviews)This is a motion picture I could watch over again and again, if only to see the terrific collection of Western film icons. An early scene features Ty Sackett (Jeff Osterhage) trying to sign on with a cattle drive. Around the campfire sit the owner of the cattle (L.Q. Jones), the foreman (Glenn Ford), and the top hand (Ben Johnson). Right then the viewer knows that he's in for first-rate entertainment.
The story line is split between Tell Sackett (Sam Elliott) trying to steer clear of three brothers (Jack Elam, Gene Evans, and Slim Pickens) out to revenge Tell's killing of their card shark brother, and Orrin and Ty Sackett (Tom Selleck and Osterhage) doing their best to bring law and order to Sante Fe despite the diabolical dealings of the town's richest man (the always oily John Vernon).
But the focal point of the picture is the underrated Glenn Ford as the mysterious Tom Sunday -- one time attorney, marshal, and even murderer. He begins the film as a mentor to Orrin and Ty, but eventually time and fate pit the three against each other.
Don't get me wrong, "The Sacketts" is not in the league of "The Wild Bunch," "High Noon," or "Ride the High Country," but I can't think of a much better way to spend three hours of my time.
Except for maybe doing a little riding on my old Buckskin on a cool, clear Saturday morning.

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The Shadow Riders (1982) Review

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(More customer reviews)"The Shadow Riders" has all the grit, matter-of-fact speech, incredible landscapes and action of a great Louis L'Amour book. Tom Selleck, Sam Elliot and Jeff Osterhage also starred in "The Sacketts" in 1979, and do just as fine a job in this movie as that one.
The part that will surprise you is how strong the female lead role is. Katharine Ross does an excellent job as the fiesty Kate Connery, the love interest of Dal Travern (Sam Elliot). She had as good a character and as much screen time as many of today's heriones -- a highly unusual circumstance in the early 80s and certainly unusual for the genre.
"The Shadow Riders" has a great mix of romance, action, humor and good old fashioned Western elements. This mix makes the film appealing to a much wider audience than just Western fans or Louis L'Amour fans -- although they will come away thrilled.

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The Civil War is over and the Traven brothers are going home. But what Mac (Tom Selleck, Quigley Down Under) and Dal (Sam Elliott, Tombstone) find upon their arrival is a town ravaged by Confederate rebels who've refused to surrender. Swearing to fight the Yankees to the bitter end, the guerillas have kidnapped the Travens' younger sisters - as well as Dal's sweetheart, Kate (Katharine Ross, Shenandoah) - and plan to sell them to a brothel in Mexico to raise money for guns and bullets. Determined to rescue their loved ones, Mac and Dal bust their Uncle Black Jack (Oscar(r) winner Ben Johnson, Best Actor in a Supporting Role, The Last Picture Show, 1971) out of prison and head south of the border, where they aim to finish a war they thought had already ended.

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Chisum (1970) Review

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(More customer reviews)Based upon historical fact, this film follows the famous range war in which Billy the Kid made his name, but chiefly from the viewpoint of aging cattle baron John Chisum (Wayne in the title role). It's 1878 in New Mexico Territory, and Chisum rides into the local town of Lincoln to meet his niece Sallie (Pamela McMyler) off the stage. His foreman and long-time Good Right Hand, Pepper (Ben Johnson practically stealing the movie--he should have been nominated for Best Supporting Actor), remarks upon the many acquisitions being made by would-be real-estate magnate Lawrence J. Murphy (Tucker in a cheerfully malevolent role), but Chisum isn't looking for trouble. Still, he is inexorably drawn into the escalating situation when lawyer Alex McSween (Andrew Prine), whom Sallie befriended on the journey, finds it impossible to turn a blind eye to Murphy's machinations, and helps stake the idealistic Easterner to a store to run in competition with the one Murphy bought out from under its original owner. Not until his friend and neighbor, Britisher Henry Tunstall (Patric Knowles), is murdered on the road by two deputies of Murphy's hand-picked sheriff (Bruce Cabot), does Chisum's temper finally come unglued, and the story continues through the siege (canonical) of the McSween store by Murphy's forces, the shooting down of McSween in the street, and at last a classic brawl (in an ultimately burning building) between Chisum and Murphy that always reminds me of two old range bulls butting heads. As always, the supporting cast adds immeasureably to the movie: Geoffrey Deuel as Billy Bonney; Christopher George (who also played a villainous role in the Duke's "El Dorado") as his old enemy, gimpy, half-crazy bounty hunter Dan Nodeen; Richard Jaeckel as Jess Evans, with whom Billy once rode; Glenn Corbett as Billy's friend (and future killer) Pat Garrett. The mild liberties that are taken with history (such as Sallie's attraction to Billy) only serve to fill out the characters better. There's plenty of classic Old West action and a good score (Merle Haggard's vocal, "Turn Me Around," should be released on a retrospective of his songs), and Chisum is portrayed as a decent man who loves the land and wants the best for the people who live on it (interestingly, he isn't expected to carry a romantic relationship at all, though it's strongly hinted that he came close to marrying Sallie's mother). A solid entry to the Wayne oeuvre and one well worth your time.

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Chisum showcases John Wayne in the twilight of his remarkable 200+-film career. As John Chisum, a real-life cattle king determined to protect his empire against a land-grabbing developer (Forrest Tucker). Wayne's no-nonsense persona snugly fits this lively reworking of the events of New Mexico's 1878 Lincoln County War. "Directed in fine sagebrush style by Andrew V. McLaglen and beautifully photographed by William H. Clothier" (The Warner Bros. Story), Chisum is the kind of sweeping, brawling Western that made Wayne endure as a star.

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Major Dundee (The Extended Version) (2005) Review

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(More customer reviews)Well, I've seen the extended version, and even if they added only 12 minutes, out of a possible forty I guess, it still makes so much more sense now it is totally worth it. Kudos to the editors behind this reconstruction. I didn't have any problem following any of it, and I'm not really bright at complicated plots. All the main outlines of the drama became extremely vivid and clear; the tension between the Confederates and the Union soldiers; the dilemma about the French army; the massacre of the family at the beginning that causes Major Dundee to go all medieval and turn over command at the prison to his skeptical sub-lieutenant. "Maybe there's a reason why you're a jailer, not a soldier, Amos." They keep saying this as though being a jailer were something terrible.
Charlton Heston's descent into a delirium of infection is painful to deal with, very real. Now we see him drawn to the Mexican woman who brings him food; he's so out of it he finds himself having sex with her for the comfort it brings, and then of all times that's when Senta Berger shows up at his door on her own mission of mercy. She sees the naked back of the Mexican woman and you can see the pain in her eyes. Heston's pretty covered up but you get the picture, and he's man enough not to lie about what happened.
Richard Harris looks great and brings a rebel energy to the movie. Warren Oates' death scene is pure poetry, shot through with genius. What a ham he is! And oh, that is ham deluxe, 100 percent pure gold!
Michael Anderson, Jr. is excellent in his role as the young bugler, so much better here than in his other parts. He's sort of playing the Claude Jarman role, or maybe the part Brandon De Wilde played in IN HARMS WAY. The scenes where he meets Begonia Palacios in the ruined town where Senta Berger works as a doctor are credible and hilarious because he's so much in lust he can't see anything else but "Linda." Equally funny is the aftermath of the skirmish in which he's been shot in the butt and then they try to fix him up by tearing out the seat of his pants and stitching up what looks like his bare ass (kind of daring nudity for 1965). Anderson's got game and you can see why Peckinpah made him so prominent in this movie.
[SPOILER]
The chronology straightens itself out and before long we come to the scene where the troops find the crucified corpse of their Indian scout, whose trustworthiness the previous version had left in doubt. Somehow it is nice, after all these forty years, to have at least one MAJOR DUNDEE mystery cleared up, and also to find that that Riago was loyal after all!
[END OF SPOILER.]
At the end a whole bunch of us (film geeks I expect) clapped at the final credits. PS, the new music is outstanding, though I'm glkad the forthcoming DVD will give you the option to hear the old sing-along theme too.

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