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 <email@example.com>
As the Earps are finishing dinner, James Wyatt pulls out a Celtic Cross and Morgan from a distance notices and comments to Wyatt "There goes that chingadera again."
chingadera noun (fem.) (pl. chingaderas) 1. Mexico - missing translation (an immoral or illegal act, often with the idea of treason or deceit). 2. Mexico - shit, crap (a thing of little value or quality, or an unspecified object). 3. Mexico - bullshit (nonsense, stupidity, false statements). Morgan probably was referring to the 2nd definition. See more »
The ages of the Earp brothers is reversed. In the movie, James is in his late teens, Virgil is in his twenties, Wyatt is about thirty, and Morgan is well into his thirties. In actuality, at the time of the OK Corral gunfight, James was 40, Virgil was 38, Wyatt was 33, and Morgan was 30. See more »
[Chihuahua has just been seriously wounded]
Mac, you and Buck go down and clean up the saloon. Put a couple of tables together and put some lights around 'em. Doc, you're going to operate.
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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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