In 1864, due to frequent Apache raids from Mexico into the US, a Union officer decides to illegally cross the border and destroy the Apache, using a mixed army of Union troops, Confederate POWs, civilian mercenaries and scouts.
The host of an investigative news show is convinced by the CIA that the friends he has invited to a weekend in the country are engaged in a conspiracy that threatens national security in ... See full summary »
A stranger in a Western cattle-town behaves with remarkable self-assurance, establishing himself as a man to be reckoned with. The reason appears with his stock: a herd of sheep, which he ... See full summary »
The veteran Civil War Yankee officer Yellowleg saves the cheater Turk in a card game, and together with the gunslinger Billy Keplinger, they ride together to Gila City with the intention of heisting a bank. Yellowleg has a war scar on the head from a man that tried to scalp him and he has been on the trail of his attacker for five years. When bandits rob a store, Yellowleg shoots at the outlaws and accidentally kills the son of the cabaret dancer Kit Tilden and the grieving woman decides to bury her son in the Apache country Siringo, where her husband is also buried. Yellowleg calls Billy and Turk to escort Kitty through the dangerous land. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Turk talks about creating a "Republic of Freedonia". While most people are aware that this is the name of a fictional country in the film Duck Soup (1933), 'Freedonian' was a term used in the USA after the American Revolution until it was replaced by 'American'. See more »
You don't know me well enough to hate me that much. Hating is a subject I know a little something about. You got to be careful it don't bite you back. I know somebody who spent five years looking for a man he hated. Hating and wanting revenge was all that kept him alive. He spent all those years tracking that other man down, and when he caught up with him, it was the worst day of his life. He'd get his revenge all right, but then he'd lose the one thing he had to live for.
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It's time this movie took its rightful place in Peckinpah's career. Some discussions of the director don't even mention it, and I suspect that's partly because of its relative unavailability. At least it needs to be seen before making generalizations about his treatment of women, as O'Hara's character is his only strong dramatic female character (echoed later by Stella Stevens' good-time gal in the whimsical Ballad of Cable Hogue). It also shows his gentle, lyrical side in a serious context, which is an important counterweight to the brutality he's famous for. And it might provide a point of entry for those who otherwise find his work off-putting.
I wonder if some of the negative comments here were based on poor video copies of the film. I just saw the new UK DVD release of a beautiful widescreen print, and it shows Peckinpah already a master of the 'scope frame (one example: the angles on Wills and Cochran on horseback following Keith and O'Hara pulling the coffin, casually insinuating the interplay of threat and vulnerability in the midst of the harsh landscape). His distinctively offbeat editing rhythms are evident from the first scene, but of course they would be mangled into gibberish in a pan-and-scan version.
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