Set in the early 1880s, this is the story of one of the last buffalo hunts in the Northwest. Sandy McKinzie is tired of hunting buffalo, and tired of killing-Charley on the other hand ... See full summary »
A ruthless Union captain is renowned throughout his prison fort as the toughest soldier in the business, capable of capturing every escaped convict under his supervision. However, when he ... See full summary »
When the President and Speaker of the House are killed in a building collapse, and the Vice-President declines the office due to age and ill-health, Senate President pro tempore Douglas ... See full summary »
James Earl Jones,
A first score was written and recorded by Jeff Alexander but had to be replaced due to extensive re-cutting. See more »
In the scene where Tony Sinclair and his sidekicks confront Clay Ellison and burn the wagon, the shot alternated between a facing shot of Clay, and a rear view. In each shot Clay is holding the shotgun. In the facing shots he holds it across his body with the barrel held high, yet in each of the rear shots it is held horizontally at arms length. There is no apparent movement of the gun, however. See more »
I know all about the brother and the sickness inside him. He didn't get that from Steve, he was born with it.
I don't think that Tony ever did get born. I think that somebody just found him wedged into a gun cylinder and shot him out into the world by pressing the trigger.
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Steve Sinclair is an ex gunfighter now contented with his lot as a peaceful farmer. Peace that is disrupted when his young brother Tony turns up with his intended new bride in tow. Tony has a thirst for gun play, and when he guns down a fellow gunman in the bar, things start to rapidly spiral out of control for the Sinclair family.
Saddle The Wind has some top credentials coming with it. Written by one Rod Serling, and starring Robert Taylor and John Cassavetes as the Sinclair brothers, it's a film not short on quality. Into the mix is the splendid outdoor location work at Rosita, Colorado (courtesy of the prolific George J. Folsey) and the genre compliant score from Elmer Bernstein. But what of the film itself? Well the story is an over familiar one, gunfighter trying to leave his bad past behind, loose cannon youngster out to make a name for himself, and yes we get a female love interest causing conflict and confusion (Julie London in a stock and undemanding role). Yet familiarity definitely does not breed contempt in this instance.
If new comers to this film are aware of John Cassavetes and his style of acting, then, in spite of the oddity of seeing him in Western surroundings, one can reasonably know what to expect. Cassavetes brings the method to young Tony Sinclair, instilling intensity, even borderline mania in the upstart hot shot, so much so that Robert Taylor's fine world weary turn as Steve gets lost until the finale. To non Cassavetes fans it may be just too much to handle, but speaking personally I found it a terrific performance that lifted the picture way above average. Support comes in the solid form of Donald Crisp and Royal Dano and the running time of under 90 minutes is just about right. Finally, it's with the ending that Saddle The Wind breaks away from its standard story and plotting. Played out on a lush blue flowered hillside, the makers deviate from the expected and give us something memorable and totally fitting to this method driven Western. 7.5/10
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