Victoria Wilson is one stubborn woman who doesn't take failure of even the most insignificant kind well. From the moment they meet, she seems determined to alienate just about everyone, especially Cheyenne Bodie. As events unfold, she just might be fighting an attraction to him, but at heart she really just wants her husband, Sam, to be the kind of man Cheyenne obviously is-ultra-masculine, capable, self-assured, and experienced, a take-charge kind of man. The Wilsons are in partnership with Cheyenne and his ailing friend Joe to bring back wild mustangs from Mexico; Sam wants to breed their share with range horses to produce a strain that is hardy, intelligent, and manageable, just what the West needs. Their mission is complicated by a shifty ramrod, Jed Begert (reliable baddie Robert Wilke), and a drifter (familiar tough guy Lane Bradford) they pick up en route who turns out to be in cahoots with the ever-threatening renegade mescaleros. There's also a twist toward the end that isn't really too much of a surprise.
This episode presents an interesting story with fully developed characters. The writing is outstanding and includes welcome touches of humor, such as when intractably headstrong Victoria cooks a less-than-satisfying meal and invites the men to "come and take it," and Cheyenne gives her a lesson in the simple art of coffee-making that she sees as criticism. Diane Brewster's Victoria is spot-on, and Ross Elliott is first-rate as her accommodating husband; they were two of the most prolific character actors from that era, just as Robert Wilke and Lane Bradford were. This is the second of Brewster's four appearances on "Cheyenne"; from con woman and protective daughter to blind singer and stuffy Victoria Wilson, she portrayed each with a flair befitting the dissimilar characters. Victoria does loosen up a little once they reach Mexico, so she might be open to change, after all, as Cheyenne had hinted from time to time. There is intrigue but aside from the usual cowboys vs. Indians, the only violence comes via the hooves of a beautiful stallion who dispatched the sorry cuss who wanted to hobble him.
Clint Walker's Cheyenne Bodie never strays from the disposition of the character he established in episode one. Strong, capable, knowledgeable, with a sense of humor and an underlying kindness unless the situation calls for forceful action, and there's usually a healthy dose of that. In this episode, there is a brief and reasonable shirtless scene, but you won't hear any complaints from those of us who also appreciate Clint Walker's considerable physical attributes.
This episode presents an interesting story with fully developed characters. The writing is outstanding and includes welcome touches of humor, such as when intractably headstrong Victoria cooks a less-than-satisfying meal and invites the men to "come and take it," and Cheyenne gives her a lesson in the simple art of coffee-making that she sees as criticism. Diane Brewster's Victoria is spot-on, and Ross Elliott is first-rate as her accommodating husband; they were two of the most prolific character actors from that era, just as Robert Wilke and Lane Bradford were. This is the second of Brewster's four appearances on "Cheyenne"; from con woman and protective daughter to blind singer and stuffy Victoria Wilson, she portrayed each with a flair befitting the dissimilar characters. Victoria does loosen up a little once they reach Mexico, so she might be open to change, after all, as Cheyenne had hinted from time to time. There is intrigue but aside from the usual cowboys vs. Indians, the only violence comes via the hooves of a beautiful stallion who dispatched the sorry cuss who wanted to hobble him.
Clint Walker's Cheyenne Bodie never strays from the disposition of the character he established in episode one. Strong, capable, knowledgeable, with a sense of humor and an underlying kindness unless the situation calls for forceful action, and there's usually a healthy dose of that. In this episode, there is a brief and reasonable shirtless scene, but you won't hear any complaints from those of us who also appreciate Clint Walker's considerable physical attributes.
