Leaving home, young Buddy Baker arrives unannounced at the luxurious Manhattan apartment of his older brother, Alan, a swinging girl chasing bachelor who prefers his carefree life to ... See full summary »
John Gower is a widower, trying to take care of his land and his daughter, JD. One day, he discovers a woman nearly dead. And he learns that his neighbor, Tom Fender, was killed. When the ... See full summary »
A widow with a young daughter travels to a farm in Montana to manage the household of a farmer. After a while the man and woman develop a relationship that leads to a marriage. But life in the harsh place takes its toll.
Zandy Allan purchases a mail-order bride, Hannah Lund. He treats her as a possession, without respect or humanity, until their shared ordeal as they struggle to survive develops in him a ... See full summary »
The blacksmith of a small western town finds himself an outcast. He had led the townspeople west in hopes of starting a new life, only to find the town that they founded is to be bypassed by the railroad.
I saw this movie maybe twice--once in the theater and once on TV--all over 30 years ago. Then I obtained a very good VHS copy and it is in my collection. It is very good and deserves a release in some form. I enjoyed some very comic moments: Jack Elam plays a half-crazed, legally blind bounty hunter with thick spectacles, teaching his finger how to read a wanted poster; Jack Cassidy ends up in jail and loses his temper because the one locking him up is too stupid to understand he's got the wrong man; Nannette Fabray gives the burly Dan Blocker a big roundhouse punch which seals their romance. The plot is a classic: a mail-order bride no-show motivates the town to fix their only blacksmith up with a saloon girl substitute, who just arrives in town. There a lot of subplots that are slapstick. The scenes between Fabray and her hostess where Fabray reveals that she's unexpectedly fallen in love with the gentle giant of a blacksmith; and the scenes between Fabray and Blocker are quite good and are what makes this film better even than what its writer or director probably intended. I would have directed Fabray to keep in mind that her character--while probably matching Fabray's intelligence and robustness but not her sophistication--is not accustomed to having such deep feelings. Perhaps a scene or two more to contrast her relationship to Panama Jack with her newly-discovered capacity to deeply love a man who is not a Western stereotype (but probably closer to the majority of men actually living in the post-Civil War West), the unarmed, simple rough-cut but still part of Victorian America--blacksmith named Charlie. This movie is a hidden gem because it's a product of an old-school cast that whose careers started in an era where actors cared deeply about their work. I cannot see today's TV or movie crowd making such a movie without treating the subject matter and their characters as beneath them--or adding unneeded sex scenes, more violence, profanity, politics and message--so that they could show their constituent audiences, or their equally cynical paymasters, that they're determined to be "realistic." Folks, get a copy of this if you can; it's worth it.
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