In the western frontier town of Cross Creek storekeeper George Temple is a polite and soft spoken man with a secret past.When three bank robbers on the lam stop in town to change horses George Temple's past comes back to haunt him.
The epic saga of a frontier family, Cimarron starts with the Oklahoma Land Rush on 22 April 1889. The Cravet family builds their newspaper Oklahoma Wigwam into a business empire and Yancey ... 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>
Gary Cooper was, at 56, a decade older than Lee J. Cobb who played his "Uncle" Dock Tobin. In the film Cooper and John Dehner talk about being children together - Dehner was actually fourteen years younger than Cooper. See more »
When the "Man of the West" is waiting for his train and when he finally boards this train, near the beginning of the film, the cloud patterns in the sky change significantly in that short time. See more »
There's a point where you either grow up and become a human being or you rot, like that bunch.
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Moody, dour western with scurrilous, mad-dog villains...
Anthony Mann directed this surprisingly tough (for its era) and gritty western about an ex-outlaw (Gary Cooper) who, along with a card-sharp and a pretty woman, is left stranded after gun-toting thieves rob a train, only to end up taking refuge with the bloodthirsty gang--his former partners, led by his uncle. Screenwriter Reginald Rose, adapting Will C. Brown's book "The Border Jumpers" (a better title!), appears to have been given free reign in regards to the adult content of the story, and some of the sequences--particularly a nasty one wherein knife-wielding Jack Lord commands Julie London to strip in front of the men--are unsettling. Cooper is too old for the lead, and his budding relationship with London seems to bloom off-screen (at first she's a wise, jaded cookie, but too soon becomes the proverbial lovestruck female, turned soft by her victimization). Ernest Haller's cinematography is excellent, as is Leigh Harline's score, but the picture is almost overwhelmed by its own unpleasantness, and by Lee J. Cobb's growling, snarling performance as Cooper's grizzled relative. ** from ****
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