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 »
Blaise Starrett is a rancher at odds with homesteaders when outlaws hold up the small town. The outlaws are held in check only by their notorious leader, but he is diagnosed with a fatal wound and the town is a powder keg waiting to blow.
The Civil War Yankee sergeant Yellowleg saves the cheater Turkey from hanging after a card game, and together with Turk's gunslinger buddy Billy Keplinger, they ride together to Gila City with the intention of heisting a bank. Yellowleg has a 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 other 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 town of Siringo in Apache country where her husband is buried. Yellowleg Enlists Billy and Turkey to escort Kitty and the coffin through the dangerous land. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Turk talks about creating a "Republic of Freedonia". Whilst 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 »
When Brian Keith leaves Maureen O'Hara behind so he can steal a horse from the Apaches, she is alone in Apache territory. Whilst he is gone, she strips off and takes a bath in a pond and Brian Keith comes back and she's out swimming around with outlaws and Apaches lurking about. See more »
It's strange - I feel I know better than any man I've ever known, yet I hardly know you at all.
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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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