Rio Grande takes place after the Civil War when the Union turned their attention towards the Apaches. Union officer Kirby Yorke is in charge of an outpost on the Rio Grande in which he is ... See full summary »
Wyatt Earp and his brothers Morgan and Virgil ride into Tombstone and leave brother James in charge of their cattle herd. On their return they find their cattle stolen and James dead. Wyatt takes on the job of town marshal, making his brothers deputies, and vows to stay in Tombstone until James' killers are found. He soon runs into the brooding, coughing, hard-drinking Doc Holliday as well as the sullen and vicious Clanton clan. Wyatt discovers the owner of a trinket stolen from James' dead body and the stage is set for the Earps' long-awaited revenge. Written by
Doug Sederberg <firstname.lastname@example.org>
This film was selected to the National Film Registry, Library of Congress, in 1991. See more »
In the film, "Old Man" Clanton (Walter Brennan) is shot and killed after the gunfight. In actuality, "Old Man" Clanton died in August 1881 - before the gunfight - and was not a principal in the gunfight itself or in the events immediately prior to the gunfight. See more »
I see we're in opposite camps, Marshal. Draw!
[Draws gun on Wyatt Earp, bar goes quiet]
[Pulls open his vest showing he is unarmed]
We can take care of that easily enough. Mac...!
[Virgil Earp slides pistol to Wyatt, who picks it up and examines it]
Brother Morg's gun.
[Slides gun back to Morgan, Doc turns to see Morgan pick up pistol and holster it. Doc holsters his pistol as well]
Big one, that's Morg. The other one, that good lookin' fella, that's my brother Virg. Doc Holliday, fellas!
[...] See more »
I'm not a huge fan of westerns, but the info on this from IMDb drew me to watch it when it showed up on American Movie Classics, and I was richly rewarded. This is truly a beautifully done film, and makes one understand John Ford's reputation in this genre. The understated Henry Fonda and the volcanic Victor Mature somehow work well against each other. The script is low-key and naturalistic, allowing the action to stand out. The cinematography is spectacular, both in the wide open panoramas and in the more intimate personal scenes. Interior lighting, in particular, is very skillfully used. Seeing Walter Brennan, playing against type, makes one appreciate how much better an actor he was than in the amiable, doddering bumpkin roles he got so typecast in later on. To use an overworked term, a classic.
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