Captain Woodrow Call, now retired from the Rangers, is a bounty hunter. He is hired by an eastern rail baron to track down Joey Garza, a new kind of killer, only a boy, who kills from a ... See full summary »
'Captain' Call has just buried Gus at Lonesome Dove and plans to head back to his ranch in Montana. Looking at a herd of wild Mustangs, he decides to drive them north with the help of Isom ... See full summary »
Epic story about two former Texas rangers who decide to move cattle from the south to Montana. Augustus McCrae and Woodrow Call run into many problems on the way, and the journey doesn't ... See full summary »
Tommy Lee Jones,
Captain Woodrow Call, now retired from the Rangers, is a bounty hunter. He is hired by an eastern rail baron to track down Joey Garza, a new kind of killer, only a boy, who kills from a distance with a rifle. Joined by his old compadre Pea Eye, it is a long ride to south Texas and the Mexican side of the border, where the past, in the form of Maria Garza, Joey's mother, haunts Call. Written by
Bruce Cameron <email@example.com>
After leaving Joey at the ladies house and heading to the saloon to see John Wesley Hardin, Maria is chased by the pig. She turns and shoots it and it falls on its left side. When she gets to the saloon and is talking to John Wesley, the camera shows the area behind her. The pig is lying on its right side and is still on its right side when she gets back to the house. When she takes her horse to bring it to the house, it is again on its left side. See more »
[flashback where Mox Mox is about to burn Lorena and a boy]
This is gonna make you burn hotter. I'm gonna burn you first, so you don't have to hear that little boy holler.
[Blue Duck arrives and fires a shot in the air]
What do you think you're doing?
I'm gonna burn that blue-eyed whore! I don't see what business that is o' yours.
She's my whore. That what business it is of mine. And you ain't burnin' her. Not today.
Why not, by God?
Because she's my bait, by God. The old ranger McCrae will come ...
[...] See more »
A solid,if downbeat chapter in the magnificent series
Granted, both the original Lonesome Dove novel and film are unique works of extremely fascinating classic story telling. Streets of Laredo obviously has a great deal to live up to and, when viewed or read in conjunction with Dove, it does suffer in the sense that our familiarity is slightly snubbed. Of course not much can measure up to the original, and so obviously this is something that cannot be helped. This sequel is far more brutal and violent that its predecessor. Violent death or at least the threat of it is an ever present character awash on Laredo's landscape much more than Dove.That said, Streets of Laredo as a film stands firmly upon its own merits which are quite impressive.Firstly, the cast is sublime. James Garner, always a vastly underrated actor, creates a stoic yet tragic Call. His final scene is at once heart breaking and resonating with strong quiet hope. His performance is all about what film acting aspires to become: he moves mountains without words.The rest of the cast is on equal footing with Garner. Playwrite Sam Shepard's Pea Eye, although losing much of Tim Scott's original Bentonesque forlorn rube, is filled with earthy heroism and and poetry. Sissy Spacek, as the whore re-incarnated as a schoolmarm Lorena produces the tough backbone needed to survive the Texas prarie. Comedian George Carlin's finely drawn panhandle scamp solidifies the theory that the border between comedy and tragedy is narrow at best. These are just a few of the excellent standouts in the sound ensemble.Secondly, there is the very narrative itself. It plays like a Sunday funeral dirge-ever aware of the passing of an era, yet peering into a glimmer future of simple optimism and hope. In McMurtry's frequently brutal world, everyone has a shot at redemption. Grace isn't free but it is availble to all willing to run the gauntlet, as long as they have a pure heart. In this film, pure of heart may not necessarily mean pure of deed, but at least evil is evil and good is good.This film bravely balances the aformentioned violence with scenes of wry humour and gentleness. In that regard, Laredo comes the closest anyone has come to honoring Peckinpah's greater works.The film, because it was produced for television is already mostly forotten by the minnions, but richly deserving of an audience. Enjoy and Savor.
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