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Lonesome Cowboys (1968)

 -  Western  -  12 May 1971 (Denmark)
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Ratings: 5.7/10 from 307 users  
Reviews: 8 user | 9 critic

Five lonesome cowboys get all hot & bothered at home en the range after confronting Ramona Alvarez and her nurse.


, (uncredited)


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Cast overview:
Ramona D'Alvarez
Tom Hompertz ...
Louis Waldon ...
Eric Emerson ...
Little Joe
Francis Francine ...
Julian Burrough ...
Julian - Brother
Allen Midgette ...


In the wild wild west, Ramona Alvarez and her perpetually stoned nurse run into five gay cowboys. The seven members of the party desire a handsome male drifter, except for the transvestite sheriff, who can't be bothered about anything but his outfit. All hot & bothered at this point, the cowboys rape Ramona, who subsequently has sex with the drifter and, in the afterglow of sex, wants to form a suicide pact with him. The drifter rejects her new desire and rides off into the sunset with another man. Written by Tummy AuGratin

Plot Summary | Add Synopsis




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Release Date:

12 May 1971 (Denmark)  »

Also Known As:

Ramona and Julian  »

Filming Locations:


Company Credits

Production Co:

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Technical Specs


Sound Mix:


Aspect Ratio:

1.33 : 1
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Did You Know?


Unable to find a major commercial exhibitor, Andy Warhol rented the Garrick Theatre in New York City, where it opened on 5 May 1969. According to co-director and producer Paul Morrissey, the film grossed a hefty $35,000-$40,000 during its first week, with only $9,000 spent on advertising. It was also booked at New York City's 55th Street Playhouse at the same time, where it broke the "single-day house mark," taking in $3,837 at $3.00 per ticket. That very same day it made $2,780 at the Garrick. The film ran for 20 weeks at various art houses in Los Angeles, and 2-1/2 months in San Francisco under distribution by Sherpix. See more »


Featured in Warhol's Cinema 1963-1968: Mirror for the Sixties (1989) See more »

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When you prefer your cowboys really gay
23 July 2007 | by (Waiheke Island, New Zealand) – See all my reviews

Leather chaps, stetsons and tassled jackets never did it for me, so I have always been avoiding western bars, western movies and western clothes. Too alien, too rural, too American. Every time I have been to America - only twice for more than one night's stay - it has been a disappointing and depressing experience: I've encountered far more snobbery and contempt for the way I looked, dressed or talked in the USA than at any time in so-called class-ridden, uptight and elitist Britain. And this was not in some forsaken prairie in Wyoming, but in "urbane bohemian" lower Manhattan and "the centre of the gay universe", the Castro. Wearing cameo gear and sporting a shaved head was not de rigueur there during the late 1980s - too subcultural, too fetishistic, whatever, it fitted in badly in those rigid beige compartments: the clone look, the western look, the preppy look. Unlike nowadays of course, when even women are starting to complain their men look gay: a Marine haircut, square-jawed and blockheaded. But despite all this invasion of gay looks, styles and sense (more queer eye - the Ivorean, Tongan or Uzbek editions, anyone?) into the cultural mainstream, radical gender or sex politics, as in wrestling with icons and meaning, is out, and "culture wars" and marriage aspirations are in.

Liberating male iconography from its perceived sexual orientation - as in all cowboys, soldiers, oil men and sports stars are straight and you mess with that at your own risk - has been Mark Simpson's major theme in his columns, books and commentary. So when he reviewed the latest Hollywood attempt to convince middle America there is a love that dares not speak its name on the prairie, I had to sit up and take notice. I don't think I will rush to my local cinema to watch Brokeback Mountain any time soon.

I think I will stick with that absolutely wonderfully funny Andy Warhol movie Lonesome Cowboys instead: after watching that one in my youth I have to admit I tried a tassled jacket on for size.

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