the mysterious rider ( 1933 film )
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video archive for the film the fighting phantom (the mysterious rider), which has a domestic theatrical release in the year of 1933. there is currently one video available for the film, of which one and only one is a trailer, as listed below. happy viewing !
when the west was young a reissue of heritage of the desert. 1933 .
mysterious rider, the year: 1921 studio: hodkinson director: benjamin b. hampton featured players: claire adams, carl gantvoort, robert mckim, james mason
1933: buffalo stampede: above youtube video. can also be found at internet archive
the film' s scenes of the buffalo herds were filmed in yellowstone national park .
review: a remake of the 1933 film has a somewhat different plot. dumbrille, wrongly accused of murder, redeems himself after hayden tries to cheat homesteaders out of their land. this time the bad guy fools the innocent farmers by having them sign their contracts… (more )
man of the forest year: 1933 studio: paramount director: henry hathaway featured players: randolph scott, verna hillie, harry carey, noah beery, sr .
under the tonto rim year: 1933 studio: paramount director: henry hathaway featured players: stuart erwin, verna hillie, fred kohler, sr. , raymond hatton
wild horse mesa year: 1933 studio: paramount director: henry hathaway featured players: randolph scott, sally blane, jim thorpe, fred kohler, sr .
a remake of the 1933 film has a somewhat different plot. dumbrille, wrongly accused of murder, redeems himself after hayden tries to cheat homesteaders out of their land. this time the bad guy fools the innocent farmers by having them sign their contracts in invisible ink. the story works well and there' s some good photography, though this still is nothing... read more
this is one of 20 zane grey stories, filmed by paramount in the 1930s, which they sold to favorite films for re - release, circa 1950 - 1952. the failure of paramount, the original copyright holder, to renew the film' s copyright resulted in it falling into public domain, meaning that virtually anyone could duplicate and sell a vhs / dvd copy of the film. therefore, many of the versions of this film available on the market are either severely (and usually badly) edited and / or of extremely poor quality, having been duped from second - or third - generation (or more) copies of the film .
you can savor the performances of james stewart and john wayne, co - starring alongside each other in a western for the first time, or lee marvin, a man seemingly born to play ruthless and brutal heavy types; you can relish the supporting efforts by the film’s excellent secondary cast, which includes the likes of woody strode, john carradine, lee van cleef and edmond o’brien. but the names, big and small alike, all fall under the umbrella of ford, who asserts himself as the film’s true principal with the authority of his peerless craft. —a. c .
rudolph maté’s the violent men breezes by, but it isn’t exactly a breeze. the film falls under the same umbrella as movies like forty guns and johnny guitar, where the cattle baron is replaced with a cattle queen. those comparisons are intrinsically unfair, though, as maté is neither samuel fuller nor nicholas ray; the violent men suffers in the shadow of its relatives in this particular genre niche. the good news is that the film is over the top enough to be worth checking out, particularly as it concerns barbara stanwyck, who plays the ruthless and calculating martha wilkinson with just the right amount of percolating menace, as well as glenn ford, playing a fairly prototypical western hero type with burly brio. (if you get flashes of double indemnity at the presence of edward g. robinson, well, that’s just to be expected .) maybe this film is done better elsewhere in the western canon, but the violent men is certainly done well enough. —a. c .
“looks can be deceiving, ” says michael madsen to kurt russell upon first introduction in the hateful eight. no four words could be more appropriate to the moment, or to the movie, a sprawling film with an intimate core. more so than most marquee movies and tent poles claiming to be “epic, ” it actually lives up to the word. there’s a pomp and grandiosity to the weight of the film—the cast is stupendous, the dialogue dazzles, disgusts and delights in equal measure, and the craftsmanship is peerless. quentin tarantino is chiefly interested in the exchanging of barbs and threats more than he is in action. make no mistake, the hateful eight is insanely violent, but it’s fixated around violent talk and violent reverie before physical violence. frontier justice does quench our thirst, but the themes of social justice that drive the film are more satiating by far. it all adds up to a towering work, as profound as it is profane. —andy crump
there are bleak westerns, and then there’s the culpepper cattle co. , a movie so goddamn bleak it makes mccabe and mrs. miller look like it’s a wonderful life. where to start with this film? at the beginning, where gary grimes’ wide - eyed fanboy ben seeks out his start in the profession by joining up with a cattle drive? the film’s quick progression into the decline of ben’s romanticized notions of what “cowboyin‘” actually means? or the climax, which leaves everyone but grimes and anthony james on the proverbial slab? the culpepper cattle co. is about as grim and unsparing as they come, and it makes no apologies for either. —a. c .
just a couple years after working with his buddy dennis hopper on the landmark indie film easy rider, peter fonda decided to take a spin in the ol’ director’s chair himself with the hired hand. unlike hopper, though, fonda didn’t meet with immediate runaway success; critics pooh - poohed its hippie - dippiness and its religious symbolism, and audiences didn’t care enough to go see it. for a time, the hired hand remained filed under “failure. ” but time heals all wounds, and around the early 2000s, the hired hand enjoyed a new restoration and, upon reexamination, heaps of critical praise. so it goes. for what it’s worth, the hired hand is absolutely a better movie than its initial response allowed, a laid - back and poetic bit of existential musing about the unglamorous side of the cowboy way, brutal when it needs to be but mostly defined by its overarching sense of pining. —a. c .
during the first scene between randolph scott and buster crabbe, the shadow of the boom mike is clearly visible on both actors .
douglas dumbrille played a lot of villains and pompous targets for comics, but in one or two westerns, he got to play a good guy. in the mysterious rider, from a zane grey story, he' s pecos bill, who' s heading back to his old stomping grounds. he' s working under a fake name, because he' s wanted for murder. it takes half an hour for the details of this story to come out, and another half hour to settle matters, but he' s surprisingly warm and straightforward and competent here. there are also a few people playing roles that will surprise you. sidney toler shows up as dumbrille' s amiable and nasty sidekick who turns out to be a cook, and russel hayden takes a break from the hopalong cassidy franchise. some good location shooting in the arizona dessert caps off this harry sherman production for paramount. doubtless he got to spend more money than a poverty row b producer, but it shows on the screen .
caldwell and nixon have their men rob the stage and then critcize the sheriff for not catching the robbers. with her father the sheriff under pressure, mary sends for hoppy who finds the... see full summary »
with true grit, joel and ethan coen remake one of the better cowboy films of the 1960s, a film that influenced countless other films, including clint eastwood ’s unforgiven. they also take on the genre’s biggest star—john wayne, who played the irascible marshal rooster cogburn in the original ’69 adaptation of charles portis’ straightforward and engaging novel. casting, however, has never been a coen weakness, and jeff bridges wholly reinvents the role for which wayne received an oscar. there is a simplicity about the performances here that jives well with the rich landscapes and the authentically recreated, urban settings of 19th - century arkansas and indian territory. that, and the genuine attire of the times, allows the coens to create a world where the actors can play real characters, not caricatures of reality. it’s a talent that keeps begging the question, “what’s next? ” —tim basham
go behind the scenes of the mission: impossible movies, check out the latest videos and trailers, and see which spy movies topped the box office in our mission: impossible guide .
unlike monte hellman’s previous western, ride in the whirlwind, the influence of myth and surrealism carefully encroaches upon these proceedings. the shooting is much more enigmatic affair, although period detail and an unromantic streak pervade this one as well. a bounty hunter (warren oates) agrees to lead a mysterious woman (millie perkins) through a hellish desert to a desolate town. but following them is a dandyish gunslinger (jack nicholson) who’s fast on the trigger and seems to have a strange bond with perkins. what perkins’ and nicholson’s real motives are is confounding to oates, until the bizarre truth of their quest is fully revealed. the shooting is a hypnotic affair, fatalistically leading to one of the great head - trip finales of all time. —d. h .
leave it to kelly reichardt to reclaim the western for women. western movies tend to be seen as “guy” affairs, less so now in 2016 than in years past; they are manly products about manly men doing manly things and pondering manly ideas, though that’s an oversimplified critique that erases the impact women have had on westerns in front of and behind the camera. what reichardt does in meek’s cutoff is shunt the men to the side and confront the bullshit macho posturing that is such an integral component of the western’s grammar; the only man here worth his salt is stephen meek (bruce greenwood), and even he is kind of an incompetent, entitled scumbag. so it’s up to emily tetherow, played by the great and luminous michelle williams, to challenge his self - appointed authority and take responsibility for the people in the caravan he has led so far astray from their path. meek’s cutoff is a stark, minimalist film, which is to say it’s a kelly reichardt film. the stripped - down, simmering austerity of her aesthetic pairs perfectly with the sensibilities of western cinema. —a. c .
there’s a pervasive melancholy to this fulci spaghetti western that most may not anticipate from either its creator or its genre. fulci is, after all, the guy who brought us such gory gems as the beyond, city of the living dead, the black cat and zombie flesh eaters, and the western and all its subgenres tends to be a place of high values, higher gestures and little room for ennui. but four of the apocalypse is, in a word, sad, a real downer of a film about a card shark, a pregnant prostitute, a drunkard, and a disturbed man who claims to see dead people, each on the run from a pack of murderers. maybe that sadness is just a reflection of the era: the 1970s saw the inevitable heat death of the spaghetti western realized, and four of the apocalypse ’s mournful tone feels like a concession of sorts to the demise of its category. —a. c .
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to describe the film as a journey of obsession would be putting it mildly. john wayne’s ethan edwards is popularly described as an ahab type, but the truth is that ethan is his own character. here is a man whose need to rescue his nieces from a band of comanche indians does not drive him so much as it consumes him; his compulsions blend with his rage and justify casual moral atrocities. such is the power of racism and prejudice as ford depicts them. both qualities invite us to act against our better natures, though it is not clear until the end whether ethan has one—and even then, just as in the beginning, he remains an outsider, the kind of guy you just do not ask into your home. ethan is as quintessential a wayne character as the searchers is a ford film, and 60 years ago, they left an impression on cinema that is still seen throughout the medium to this very day. —a. c .
the heirs of the dying owner of a valuable radium mine are being murdered as a mining engineer tries to unccover the killer and clear his cousin' s name .
the ranchers have given money through benton to the crooked lawyer harkness to save the titles to their land. when harkness gets a better offer, he steals benton' s receipt for the money and... see full summary »
the ranchers have given money through benton to the crooked lawyer harkness to save the titles to their land. when harkness gets a better offer, he steals benton' s receipt for the money and benton is jailed. to fight back, benton escapes jail at night to become the phantom .
as cocked - brow smartass “the kid. ” not the least of note here is dante spinotti’s characteristically vivid cinematography .
what’s the saying? if you’re going to steal, steal from the best. that’s what sergio leone did back in 1964, when he released a fistful of dollars upon the world and in doing so reinvigorated a whole genre under the “spaghetti western” tag. the film is a straight - up rip - off of akira kurosawa ’s masterpiece, yojimbo, and unapologetically so. but leone proves that lifting a story out of its setting and populating it with a whole new cast of characters works as a narrative tactic. he made stronger movies throughout his career, but a fistful of dollars, for all of its influence over the western from the 1960s forward, is arguably his most important. —a. c .
when you think of western movies, you probably picture the grandeur of the american frontier: big, open expanses of land capped off with an endless blue sky, a rugged panorama rife with as much danger as opportunity. you probably don’t think of intimacy of setting. in that respect, johnny guitar is an anomaly of sorts in a genre that is routinely vast in its physical scope and scale: the film takes place almost exclusively in a saloon that stands just two stories high. you can chalk all of this up either to invention or, more realistically, to budgeting snafus, but johnny guitar ’s small stature doesn’t hold it back from being a solid western. ever notice the homoerotic tensions that crackle between the good guys and the bad guys in western films? johnny guitar plays with that by channeling the energy back and forth from joan crawford to mercedes mccambridge—their characters loathe each other, but not as much as crawford loathed mccambridge and vice versa. that little reversal is enough to make the film feel special despite being so scant. —a. c .
is the western the most american of movie genres? you can make an argument for the western film’s internationality on the names of the directors who have contributed to its iconography: you have your john fords and your anthony manns, your sam peckinpahs and your samuel fullers, but over in europe you also have filmmakers like sergio leone, enzo g. castellari and sergio corbucci, among many, many others, as authors of western offshoots that influence filmmakers even today. (and of course there are those great entries in the western canon that were lifted wholesale from akira kurosawa ’s filmography .) hell, let’s flash from the western’s glory days to the last decade, where kim jee - woon and takashi miike have put their individual stamps on its tropes and motifs. for these reasons, there’s certainly an argument to made that the western is truly “universal. ”
re - titled' buffalo stampede,' this film was first telecast in detroit sunday 21 february 1954 on wxyz (channel 7), sunday 28 february 1954 on wcbs (channel 2), and in los angeles sunday 9 may 1954 on knbh (channel 4). in san francisco it hit the airwaves monday 5 september 1955 on kpix (channel 5) .
like the wide and sprawling landscapes that are so much a part of the western’s character as a genre, the western itself is a big, open canvas for storytelling of all stripes. with that in mind, we here at paste set about collecting westerns from all over the map and across the ages to assemble our picks for the 100 best western films of all time. —andy crump
arguably the greatest of the italian westerns, but also one of the finest westerns ever made. leone’s penchant for turning the genre’s sacred themes and obsessions inside out goes full tilt here. clint eastwood and lee van cleef are back for this third dollars movie, but the addition of eli wallach adds a significant amount of caustic humor and even more cynicism to the mix. set during the civil war, though in a dry, barren landscape resembling the surreal panels of a krazy kat cartoon more than historical reality, leone’s epic is the sublime, gloriously cinematic creation that he was always gunning for. composer ennio morricone’s score ties it all together, particularly in the orgasmic “ecstasy of gold” finale. the director may have gone even more baroque with his subsequent once upon a time in the west, but this is still his greatest achievement. pop culture and the genre were never the same. —d. h .
trippy indie madeline' s madeline is the movie that lakeith stanfield and boots riley from sorry to bother you want to see the most .
but no matter where western movies are made, no matter what subgenre classifications they are individually accorded, and no matter who makes them, the films always engage with symbols, eras and images that are quintessentially “american. ” the western is the domain of the cowboy, the solitary hero. it’s a place where law and chaos are ever in conflict with one another and where the difference between survival and death usually comes down to who is faster on the draw. it’s a testament to the rich, awesome power of the western as a narrative mode that filmmakers from around the planet have found stories worth telling within its purview, but even the italian maestros simply added their own unique (and significant) flourishes to a cinematic tradition that is american in its dna .
greed is a recurring theme throughout the western, whether in the scheming cynicism of vera cruz, the landowner conflicts of once upon a time in the west and shane, or in the naked spur, where greed is a divisive force. in john huston’s the treasure of the sierra madre, greed is corruptive. greed corrodes your soul and poisons you against your comrades. greed persuades you to yank your prospecting partner out of bed and shoot him in the dead of night. all that and more for bags of gold that wind up being tossed to the wind like so much chaff. it isn’t all ugliness and gloom—in one particularly noble gesture, walter huston’s howard saves a kid’s life—and there are even a few laughs along the way (most of them huston’s), but the treasure of the sierra madre ’s morality tale about the taint of avarice is deeply sobering as an anti - capitalist screed. —a. c .
credit: edward s. curtis, early 1900s; national anthropological archives, smithsonian institution; essential plant for the survival of the mescalero apache people
you know rancho notorious has to be pretty damn great if mel brooks felt comfortable using its female lead as the basis for blazing saddles ’ lili von shtupp. you also know it has to be pretty damn great because it’s a fritz lang film, and fritz lang films generally tend to be high - caliber affairs. that’s as true of rancho notorious as most anything in lang’s body of work, but by consequence of its creator, it’s probably better categorized as a lang movie than as a western. sure, rancho notorious boasts all of the standard tropes and details we like about western films—gunfights, fistfights, bank robberies, jailbreaks—but it’s also replete with the standard thematic interests you’ll find peppered across all of lang’s productions, summed up best by the last line of the film’s introductory song: “hate, murder, and revenge! ” lang likes inflicting endurance - level suffering on his protagonists, and rancho notorious, a noir - grim yarn in which a ranch hand tracks down his fiancée’s killer to an outlaw hideout disguised as a saloon, is no exception. —a. c .
one of the finest non - leone italian westerns. it’s also, along with a bullet for the general and the great silence, the best of the so - called marxist westerns. lee van cleef is hired by a railroad baron to track down a mexican outlaw, played by the seedily charismatic tomas milian, accused of raping a teenaged white girl. but van cleef’s firm belief in right and wrong and just use of corporate power are challenged once he’s on the hunt. there are some marvelously eccentric touches, e. g. , wild torture sequences, and a knife vs. gun duel. ennio morricone’s score is one of his grandest. but what makes the big gundown one of the truly great westerns is the central, complex relationship between van cleef’s bounty hunter and milian’s revolutionary fugitive, and the pair’s brilliant performances. —d. h .
lawrence kasdan’s winning homage benefited from a sterling ensemble cast (scott glenn, kevin costner, kevin cline, danny glover, brian dennehy, john cleese, jeff goldblum, rosanna arquette), keen pacing—both in action and humor—and an all - in approach to the classic western. the traditional motifs are all there as a quartet of cowboys treks to the film’s namesake town and helps its citizens fight back against corrupt powers that be. from fraught duels to wagon trains and cattle stampedes, silverado is neither revisionist nor original, but it’s terrifically energetic and fun, not to mention beautifully polished in production. —a. s .
a john ford movie without henry fonda or john wayne is like a birthday cake without candles, or the fourth of july without fireworks. but wagon master finds more than suitable replacements in ben johnson and harry carey jr. , who play, as you might expect, wagon masters hired to help a mormon wagon train make it to utah in one piece. that they are imperilled along the way by a pack of dastardly bandits is par for the western course. that the film exudes so much warmth and general good feeling is, perhaps, far more surprising, not just for its genre but for its creator. ford is not widely regarded as sentimental, or gentle, or even the least bit cuddly, but wagon master is such a good - tempered romp that you might not expect to see his name on the marquee whatsoever. —a. c .
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hoppy' s brother has been murdered and he is on the trail of the murderers. to get them he makes himself seem to be a wanted man .
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the _ thundering _ herd _ buffalo _ stampede - 244029763 - large. jpg
view to the east from cedar ridge, arizona; credit: trung q. le
for those who need to be cajoled into watching day of the outlaw, consider the presence of burl ives, and robert ryan, and andre de toth. and if you worship at the altar of tarantino, consider day of the outlaw as required viewing—it’s a clear predecessor to and influence on the hateful eight, one of the best films of 2015, though de toth’s noir - forward approach to the western genre makes this tale of snowbound frontier justice worth your time and our collective admiration on its own merits. a minor classic is still a classic, after all. —a. c .
28. the ox - bow incident director: william a. wellman year: 1943
the spaghetti western is a subgenre of the western, and the zapata western is a subgenre of the spaghetti western. it’s a subgenre within a subgenre, a subgenre inception, or not. what really matters here is that a bullet for the general is a great flick whether or not you care about categorizations; if you do, it’s probably important to note that this is one of the better known and more influential westerns of its make. most important to know is that klaus kinski plays a grenade - lobbing idealist priest and gian maria volontè plays his profiteering bandit brother. their philosophical differences throw a spanner in the works as they fight to support revolution in mexico. kinski is most often remembered for his roles in westerns like the great silence, but the gusto and relish he shows in a bullet for the general is equally unforgettable. —a. c .
there’s a reason that leone’s masterpiece is considered one of the greatest movies ever made and not just one of the great westerns: once upon a time in the west is an enduring monument of its era, its genre and filmmaking itself. —a. c .
maybe hondo is the quintessential john wayne film, maybe it isn’t. it’s certainly his best performance, though there are strong arguments to be made for true grit and the searchers. but leaving those arguments for another time, hondo is a definitive western. it is undoubtedly a definitive john wayne western, one that sees the great american cowboy refining and honing himself as a performer, sculpting his image as well as the figure of archetypal manhood he played throughout his career. he’s a man’s man, that hondo, but he’s sensitive, too, the kind of guy who’ll teach your son, bereft of a present father, how to fish and how to swim, and instruct him on the importance of good axe maintenance; later, he’ll tell you that you smell “all over like a woman, ” and maybe he’ll make poetic pronouncements about the failures of human language. hondo’s layers make him an enduring character even in wayne’s storied filmography, and by consequence elevate hondo from a good western to a great one. —a. c .
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arizona raiders a reissue of arizona mahoney with robert cummings billed as the star. 1951 .
79. gunfight at the o. k. corral director: john sturges year: 1956
although this film was re - released theatrically under its original title in 1950 by favorite films, when it was sold to television, the title was changed to' mark of the avenger', most likely to protect theatrical re - release showings which were still in progress in some territories. it was first telecast in new york city friday 29 january 1954 on wcbs (channel 2), in los angeles sunday 23 may 1954 on knbh (channel 4), and in detroit friday 16 july 1954 on wxyz (channel 7); in san francisco it was first broadcast wednesday 6 july 1955 on kpix (channel 5) .
“nope, ” replied slinger, “i don’t like the deal and if i happen to run into any of you gents upon the diamond, i’ll take particular offense. savvy that? ”
it is and always has been the fashion to criticize actors for so - called vanity projects, when they dare to get in the director’s chair while keeping their faces in front of the camera. if you want to accuse kevin costner of being vain, by all means. but don’t conflate perceived vanity with caliber of filmmaking. maybe open range is a vain movie. it does, after all, end with an explosive and extended gun battle in which costner transforms from a broken - down ex - soldier into the whirlwind of death he is framed as in whispers and through innuendos that pepper the film’s script. call that a naked ego boost if you like. open range confidently takes its time building to a violent crescendo. it earns its gunplay. there’s no vanity in that whatsoever—just good old - fashioned storytelling know - how, capped off with a technical display of real - time action that proved a necessary tonic in a post - matrix moviegoing era. —a. c .
last roundup, the (source - the border legion) year: 1934 studio: paramount director: henry hathaway featured players: randolph scott, barbara fritchie, fred kohler, sr. , monte blue
riders of the dawn (source - the desert of wheat) year: 1920 studio: hodkinson director: hugh r. conway featured players: roy stewart, claire adams, robert mckim, norman kerry
the - thundering - herd - images - 726e59c9 - 2494 - 4a73 - a27b - 705535f327d. jpg
maybe it’s more accurate to say that they made the western their own. spaghetti westerns are, after all, a cousin to american westerns in terms of style, content, themes and morality. the italian westerns are literally gritty where american westerns are polished and clean; they deal in ambiguity instead of black and white. the average spaghetti western hero looks like a total bastard next to the clean - cut heroes of american westerns, who uphold all of the best and most commonly accepted standards of heroism as we know them. who would you rather save the day for you? will kane, or the man with no name? there’s a divide separating the westerns made by europeans and those shot by americans, but if you can sort these movies out by their varying approaches, you can’t keep them all from standing under one umbrella. (a better point of debate: did the spaghetti western become a thing in 1958 or 1964? )
lassiter' s sister was killed and her young daughter taken and raised by outlaws. years later lassiter arrives at the withersteen ranch looking for the now grown daughter. he immediately... see full summary »
featured players: richard dix, lois wilson, noah beery, sr. , marjorie dawchallenge of the frontier
the post was edited 30 times, last by ethanedwards (apr 7th 2017, 7: 22am) .
the post was edited 29 times, last by ethanedwards (apr 7th 2017, 7: 21am) .
it' s not too bad, but the good cast builds up expectations for this western that are not really fulfilled. the story is just fair, and only the occasional good action scenes keep it going. it stars randolph scott, and has a good supporting cast that includes the likes of harry carey, buster crabbe, and more. the story has quite a bit going on, most of it focusing on rival groups of buffalo hunters. a lot happens, but much of the time it doesn' t seem to fit together that well, and there are some slow stretches that could easily have been shortened or omitted. it' s worth a look for the cast if you like older westerns, but don' t expect too much .
the falls shown in this photograph were 28 feet high pre - 1907; credit: h. t. cory
bear hunting in the sierra mountains; by f. o. c. darley, 1880s; john muir collection
a strange, troubled, underrated, masochistic western. the production was problematic to say the least, compounded when the original director, stanley kubrick, was fired after butting heads with his star one too many times. marlon brando took over the directing duties, and it’s his vision and obsessions that permeate every tortured frame … not always to good effect. it’s certainly riveting in its psychological dimensions, however, and even when brando is at his most excessive, the result is always fascinating and weird. brando plays a tortured, revenge - minded gunslinger who goes up against his old friend who once betrayed him, played by karl malden. the movie’s seaside monterey locale adds a distinctive presence to the otherwise angsty proceedings. freud would have had a field day with this one. —d. h .
); a gender - bending narrative that sends sharon stone’s monotone gunfighter, “the lady, ” on a righteous quest into the town of redemption (natch) to avenge her father’s death via quick - draw contest. gene hackman relishes his turn as the tyrannical mayor, not so subtly named herod, responsible for said killing, as does a pre -
ah, django. who can say no to that soundtrack? who can pass up the grizzled mug of franco nero, or the filmic stylings of sergio corbucci? quentin tarantino certainly couldn’t, and thus we have django unchained as a delightfully violent relic of 2012 (see no. 85). more importantly, we have django and we have django, a righteous, coffin - dragging, gunslinging, erstwhile union soldier wandering the united states - mexico border who winds up caught between tattered remnants of the confederacy and mexican revolutionaries. django cuts a figure of cool reserve, the kind we’ve come to associate with the spaghetti western’s antihero archetype; he’s out for a cause, his own cause, and he sees his cause realized through the subterfuge and manipulation favored by his forebears (a fistful of dollars, and by extension yojimbo) .
escaping from the marshal, billy and fuzzy ride to laramy only to find it a ghost town. sykes and his gang have driven people away while they look for the gold mine of a man they have... see full summary »
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re - titled' buffalo stampede' by favorite films for its 1950 re - release, this title was often shown in tandem with the re - release of born to the west (1937), re - titled' hell town' .
scene in a yaqui “bullpen” on the exile road from san blas to san marcos; from “barbarous mexico” by john k. turner
if you’re a gunfighter, you schedule your life around shootouts in the wide - open streets of dusty old frontier towns. it’s what you do. but what happens when you leave that life and that life refuses to leave you? what do you do when you are the sum of your reputation, a target for the latest young quick drawin‘ upstart on the block to challenge, and nothing more? well, you kill those young quick drawin‘ upstarts as they come at you, albeit with a healthy dose of reluctance. the gunfighter is a doleful little ditty, quick, to the point, jam - packed with incident, and shaped by its tone as much as its action—plus gregory peck’s jawsome, bitter, remorseful leading performance. it’s darwin’s kind of western, a movie where the fastest survives but in which surviving and living don’t exactly line up with one another. —a. c .
the movie’s opening scenes are startling and mesmerizing: missouri farmer eastwood is unable to save his wife and child from being murdered by a band of ruthless jayhawkers, led by the nasty bill mckinney (deliverance). having survived the assault and with nothing left to lose but his life, wales joins a bunch of confederate - allied bushwhackers and enters the civil war, hoping that he will again run into mckinney’s captain terrill and his gang. upon refusing to surrender after the war, wales goes rogue and meets up with a number of outsiders—an old indian chief and young woman, and an elderly woman and her granddaughter—in an attempt to remake his family down in texas, far from the violence that has consumed his life. at once adventurous and even comical at times, the outlaw josey wales is also cast with elegiac tones via cinematographer bruce surtees. it’s a triumph and one of eastwood’s career highlights. —d. h .
fire fighters going to the front; lassen national forest, california, 1927 (fhs5536); credit: u. s. forest service history
director budd boetticher is one of the greatest pulp poets the american western genre ever produced. as with anthony mann’s 1950s work in the genre, boetticher’s productions are narratively taut and sizzling with undercurrents of sex, violence and sadism. it’s great stuff. his best movies were those starring matinee favorite randolph scott, a standard, chiseled hollywood hero, going toe - to - toe with neurotic, psychopathic heavies, like james best in this one. boetticher builds up tension to a feverish degree, though the finale is unexpected in its moral weight and thoroughly satisfying. essential. —d. h .
exclusive: watch m. ward sing
sad sad song
in elvis presley' s car in the king clip by ellen johnson july 6, 2018
border legion, the year: 1919 studio: goldwyn director: t. hayes hunter featured players: hobart bosworth, blanche bates, eugene strong, horace morean
border legion, the year: 1924 studio: paramount director: william k. howard featured players: antonio moreno, helene chadwick, rockliffe fellows, gibson gowland
code of the west year: 1925 studio: paramount director: william k. howard featured players: owen moore, charles ogle, constance bennett, mabel ballin
last of the duanes year: 1930 studio: fox director: alfred l. werker featured players: geroge ofbrien, myrna loy, walter mcgrail, lucille brown
dude ranger, the year: 1934 studio: fox director: edward f. cline featured players: george ofbrien, irene hervey, m paul kelly, leroy mason
heritage of the desert year: 1924 studio: paramount director: irvin willat featured players: bebe daniels, lloyd hughes, ernest torrence, noah beery, sr .
to the last man year: 1923 studio: paramount director: victor fleming featured players: richard dix, lois wilson, noah bery, jr. , robert edeson
wanderer of the wasteland year: 1924 studio: paramount director: irvin willat featured players: jack holt, billie dove, noah beery, sr. , kathlyn williams
west of the pecos year: 1934 studio: rko director: phil rosen featured players: richard dix, martha sleeper, fred kohler, sr. , louise beavers
wildfire, escape, zane greys western magazine, may 1949, vol. 3, no. 3: scars, the man who rode back | source: urltoken
junction of the jemez and guadaloupe rivers, 1884; photoprint copyrighted by b. l. cook, e. a. bass, and e. m. robinson
last trail, the year: 1921 studio: fox director: emmett j. flynn featured players: maurice b. flynn, eva novack, wallace beery, rosemary theby
riders of the purple sage year: 1925 studio: fox director: lynn reynolds featured players: tom mix, beatrice burnham, george kohler, sr. , arthur morrison
riders of the purple sage year: 1931 studio: fox director: hamilton mcfaddon featured players: george ofbrien, marguerite churchill, noah beery, sr. , james todd
lone star ranger, the year: 1919 studio: fox director: j. gordon edwards featured players: william farnum, louise lovely, irene rich, g. raymond nye
thundering herd, the year: 1925 studio: paramount director: william k. howard featured players: jack holt, lois wilson, raymond hatton, noah beery, sr .
light of western stars, the year: 1940 studio: paramount director: wesley selander featured players: russell hayden, jo ann sayers, victor jory, noah beery, jr .
water hole, the (lost pueblo) year: 1928 studio: paramount director: f. richard jones featured players: jack holt, nancy carroll, john boles, montague shaw
light of western stars, the year: 1925 studio: paramount director: william k. howard featured players: jack holt, billie dove, noah beery, sr. , alma bennett
arizona raiders, the (source - raiders of spanish peaks) year: 1936 studio: paramount director: james hogan featured players: larry
buster
crabbe, marsha hunt, . raymond hatton, jane rhodes
ben wade and his partner frosty return to bellounds' ranch where twenty years earlier wade was wanted for murder. unrecognized, he gets a job on the ranch and soon becomes involved in... see full summary »
vanishing pioneer, the (source - an original screen play by zane grey) year: 1928 studio: paramount director: john waters featured players: jack holt, sally blane, william powell, fred kohler, sr .
ben wade and his partner frosty return to bellounds' ranch where twenty years earlier wade was wanted for murder. unrecognized, he gets a job on the ranch and soon becomes involved in folsom' s cattle rustling and a chance to settle an old score .
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leonard maltin classic movie guide, copyright 2005, 2010. used by arrangement with penguin group (usa) inc .
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stand by your homes! fight! fight for what rightly belongs to you! :... those were their orders! (original poster )
stars: randolph scott, charles' chic' sale, mrs. leslie carter
cowhand ladd dances with cantina girl estrella and has a part in shooting sheriff tyler .
hopalong and his horse topper catch bad guys with red connors for comic relief .
giacomo casanova returns to venice, to help his brother, falsely accused of robbery .
hoppy, johnny and windy are fighting a malicious gang trying to stop a cattle drive from reaching a drought - stricken north .
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featured players: elmo k. lincoln, eileen percy, margery wilson, edward coxen
desert gold year: 1926 studio: paramount director: george b. seitz featured players: neil hamilton, shirley mason, william powell, robert frazier
fishing with zane grey in new zealand a documentary of zane grey fishing in new zealand .
fishermanfs pluck a short subject based on zane greyfs river running and steelhead fishing experiences .
featured players: william farnum, louise lovely, g. raymond nye, clarence burton
lightning year: 1927 (source - original story) studio: tiffany director: james c. mckay featured players: jobyna ralston, margaret livingston, guinn williams, robert frazier
featured players: lane chandler, betty bronson, fred kohler, sr. , guy oliver
south sea adventures a documentary of south sea fishing trips initially shown on television .
stairs of sand year: 1929 studio: paramount director: otto brower featured players: wallace beery, jean arthur, fred kohler, sr. , phillip holmes
thunder trail (source - arizona ames) year: 1937 studio: paramount director: charles parton featured players: gilbert roland, marsha hunt, charles bickford, j. carrol nash
featured players: richard dix, lois wilson, noah beery, sr. , malcolm macgregor
when romance rides (source - wildfire) year: 1922 studio: goldwyn director: eliot howe featured players: charles o. rush, claire adams, jean hersholt, tod sloan
white death year: 1936 studio: associated director: edwin g. bowen featured players: zane grey, nola warren, alfred frith, john weston
wild horse mesa year: 1925 studio: paramount director: george b. seitz featured players: jack holt, billie dove, noah beery, sr .
wild horse mesa year: 1947 studio: rko director: wallace a. grissell featured players: tim holt, nan leslie, richard martin, harry woods
© 2006 - 2018 zane grey' s west society. all rights reserved. historical photos of zane grey used with permission of dr. loren grey and zane grey inc .
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villagers of cashibo greet their new guests; photo by: bullseye productions ltd. and chris taylor
fred harvey’s hotel castañeda, las vegas, new mexico; western history / genealogy department, denver public library .
illus. in: harper’s weekly, 1874 dec. 12, v. 18, no. 937. lc - usz62 - 55602; credit: library of congress
arapaho camp with buffalo meat drying near fort dodge, kansas, 1870. arc identifier 518892; credit: national archives
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the mysterious rider is a 1933 american pre-code western film directed by fred allen and written by harvey gates and robert n. lee . the film stars kent taylor , lona andre , berton churchill , irving pichel , warren hymer , gail patrick and cora sue collins . the film was released on january 20 , 1933 , by paramount pictures . 
the mysterious rider is a 1933 american pre-code western film directed by fred allen and written by harvey gates and robert n. lee. the film stars kent taylor, lona andre, berton churchill, irving pichel, warren hymer, gail patrick and cora sue collins. the film was released on january 20, 1933, by paramount pictures.
the mysterious rider is a 1933 american pre-code western film directed by fred allen and written by harvey gates and robert n. lee. the film stars kent taylor, lona andre, berton churchill, irving pichel, warren hymer, gail patrick and cora sue collins. the film was released on january 20, 1933, by paramount pictures.