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 »
During the war for Texas independence, one man leaves the Alamo before the end (chosen by lot to help others' families) but is too late to accomplish his mission, and is branded a coward. ... See full summary »
After Pardon Chato, a mestizo, kills a US marshal in self-defense, a posse pursues him, but as the white volunteers advance deep in Indian territory they become more prey than hunters, ... See full summary »
Ross Bodine and Frank Post are cowhands on Walt Buckman's R-Bar-R ranch. Bodine is older and broods a bit about how he will get along when he's too old to cowboy. Post is young and rambunctious and ambitious for a better life than wrangling cows. When one of their fellow cowboys is killed in a corral accident, Post suggests a way into a better life for himself and his friend: robbing a bank. Bodine reluctantly joins in the plan and the two contrive to rob the local bank. They make good their escape initially, but Walt Buckman and his two sons, John and Paul, are incensed at this betrayal by their own trusted employees. John and Paul set out to bring Bodine and Post to justice. Written by
Jim Beaver <firstname.lastname@example.org>
The Wild Rovers is one of the rare instances where Blake Edwards collaborated with another composer instead of his regular musical associate, Henry Mancini, who was working on another movie. In this case, Jerry Goldsmith came to the fore, providing a rich, vibrant, and sometimes stark score to accompany the story. See more »
You show me an old cowboy, a young cowboy or an in between cowboy with more than a few dollars in his poke and I'll show a cowboy that stopped being a cowboy and robbed banks.
Well, let's rob us a bank.
It'll be safer than getting married.
See more »
This is not a film about which you hear a great deal, which is a shame because it is one of the most enjoyable westerns I have seen for a long time. I think the problem lies in the fact that it tries to be too many different things and cover too many bases. It is funny, but not as funny as BUTCH CASSIDY AND THE SUNDANCE KID; it is elegaic, but not as elegaic as PAT GARRETT AND BILLY THE KID; it is violent, but not as violent as THE WILD BUNCH; and it is beautiful, but not as beautiful as JEREMIAH JOHNSON.
It may sound odd but the film it most resembles, in as much as it combines all these elements, is THUNDERBOLT AND LIGHTFOOT. We have a mismatched pairing of a wise man and a headstrong youth who combine to pull off a major robbery. They are pursued relentlessly by an almost psychotic adversary. They meet a tragic end. This may sound like high praise and indeed it should because this is a fine movie and I never thought I'd say that about a Blake Edwards movie.
There are moments within this film which you rarely get in a run of the mill western. For instance I never see a western which deals so well with the equivocal relationship between a cowboy and animals. This film is full of them: sheep, cows, horses, mules, cougars, cats and dogs. And not just in passing either. All the best westerns have a snowbound sequence but not many of them combine it with a horse-breaking scene, as this movie does to breathtaking effect.
23 of 27 people found this review helpful.
Was this review helpful to you?