A mountain man who wishes to live the life of a hermit becomes the unwilling object of a long vendetta by Indians, and proves to be a match for their warriors in one-on-one combat on the ... See full summary »
Hud Bannon is a ruthless young man who tarnishes everything and everyone he touches. Hud represents the perfect embodiment of alienated youth, out for kicks with no regard for the ... See full summary »
Tom Logan is a horse thief. Rancher David Braxton has horses, and a daughter, worth stealing. But Braxton has just hired Lee Clayton, an infamous "regulator", to hunt down the horse thieves; one at a time.
When his cattle drivers abandon him for the gold fields, rancher Wil Andersen is forced to take on a collection of young boys as his drivers in order to get his herd to market in time to ... See full summary »
Set in winter in the Old West. Charismatic but dumb John McCabe arrives in a young Pacific Northwest town to set up a whorehouse/tavern. The shrewd Mrs. Miller, a professional madam, arrives soon after construction begins. She offers to use her experience to help McCabe run his business, while sharing in the profits. The whorehouse thrives and McCabe and Mrs. Miller draw closer, despite their conflicting intelligences and philosophies. Soon, however, the mining deposits in the town attract the attention of a major corporation, which wants to buy out McCabe along with the rest. He refuses, and his decision has major repercussions for him, Mrs. Miller, and the town. Written by
John J. Magee <email@example.com>
During post-production on this film, 'Robert Altman' was having a difficult time finding a proper musical score, until he attended a party where the album "Songs of Leonard Cohen" was playing and noticed that several songs from the album seemed to fit in with the overall mood and themes of the movie. Cohen, who had been a fan of Altman's previous film, Brewster McCloud (1970), allowed him to use three songs from the album - "The Stranger Song", "Sisters of Mercy" and "Winter Lady" - although Altman was dismayed when Cohen later admitted that he didn't like the movie. A year later, Altman received a phone call from Cohen, who told him that he changed his mind after re-watching the movie with an audience and now loved it. See more »
I was led to this movie in 1972 via the Academy nomination of Julie Christie for her remarkable performance and the small trailer used to highlight her. This was enough to get my attention.
Since then I have recommended it to any movie lover- whether a "student of film" or not. I am constantly surprised at the numbers of people who haven't seen this masterpiece. I've lived with it's haunting scenes for a quarter of a century and, as with anything of depth, constantly find new charms in my old love.
From the evocative lyrics of the opening score to it's sudden chilling and deadly encounters, this movie lives in your mind long after the final blizzard cloaks the frame.
If one is a contrarian I would guess the only thing to do after seeing this for perhaps the fiftieth time is to begin looking for that moment where someone, anyone has put a foot wrong in this production. From gaffers to grips, actors to designers, continuity to props it is so pure as to be a documentary in it's granular clarity- there may be a wrong note in there somewhere but until then do yourself a favor and give yourself up to as rich a cinematic experience as you are ever likely to find.
There are few movies I love- I love this movie.
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