When her husband dies en route to America, Martha Price and her daughter Hilary are left to carry out his dream: the introduction of Hereford cattle into the American West. They enlist Sam ... See full summary »
Imprisoned for a murder he did not commit, John Brant escapes and ends up out west where, after giving the local lawmen the slip, he joins up with an outlaw gang. Brant finds out that '... See full summary »
Three years after the end of the Apache wars, peacemaking chief Cochise dies. His elder son Taza shares his ideas, but brother Naiche yearns for war...and for Taza's betrothed, Oona. Naiche... See full summary »
Union officer Kerry Bradford escapes from Confederate Prison and is set to Virginia City in Nevada. Once there he finds that the former commander of his prison Vance Irby is planning to send $5 million in gold to save the Confederacy.
Two brothers, Ben and Clint, join a cattle drive from Texas to Montana. While heading for Texas they save Nella from the Indians, and she decides to ride with them. Ben and Nella start to ... See full summary »
On his way to hire a schoolteacher, a homesteader is left a hundred miles from anywhere when the train he is on is robbed. With him are an attractive dancehall girl and an untrustworthy gambler and he decides to get shelter nearby from outlaw relatives he used to run with. They don't trust him and he loathes them but they decide he can help them with one last bank job. Written by
Jeremy Perkins <email@example.com>
When Link and Trout arrive at Lasso, their shadows are to the right of screen, indicating mid-morning. As they get to the bank, their shadows are nearly under them, indicating the sun nearly directly overhead or a time of around noon. The shadows are in the same place when Trout flees from the bank. However, when Trout reaches the edge of town and dies, the shadows are again to the right of screen and are in the same direction when Link finds him, and when Claude and Ponch arrive in town. See more »
Hello, Billie! Billie, you're lookin' very good!
Thanks, and I thought the only thing that looked good to you was a marked deck.
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It is not surprising that French film critics, such as Jean-Luc Godard rated "Man of the West" so highly in 1958/59. The film is a fine example of the so-called 'existential western'. Not unlike many films noirs from an earlier period, "Man of the West" has a purely existential hero. The Gary Cooper character, Link, is not wholly defined by what he has done (who he 'was'). When Link, Sam and Billie arrive at the supposedly abandoned ranch where he had previously lived, Billie asks "when you were a boy?". "I don't know what I was" is Link's very telling reply. This character is constantly in the process of becoming. He is defined only be what he will do, and not locked into the past or even the present. Link is the man "from West of here" as he tells another character. The West in this case can be seen as the land of 'becoming', that which is not yet defined by civilization. Through the destruction of the past (by way of the deaths of Dock, Coaley, Claude and the rest) he can achieve redemption.
Gary Cooper gives one of his better performances here, not exactly impressive, but appropriate for the role. Julie London may never have surpassed this portrayal, completely believable in every scene. Other supporters are beyond reproach. While Royal Dano can be singled out for a powerful characterization accomplished without speaking a word. Only in his final moments on screen does Dano utter a sound. This was a good year for Dano--he was a major standout in "Saddle the Wind" as well.
"Man of the West": one of the most intelligent, interesting westerns ever made.
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