In the western frontier town of Cross Creek storekeeper George Temple is a polite and soft spoken man with a secret past.When three bank robbers on the lam stop in town to change horses George Temple's past comes back to haunt him.
In Argentina, one daughter of patriarch Madariaga is married to a Frenchman while the other is married to a German thus leading to a crisis when Nazi Germany occupies France and some Madariaga family members fight on opposite sides.
Chronicles the early life of gay nineties-era songwriter Paul Dresser as he outgrows his job as carnival entertainer and moves up into New York society, writing one hit song after another. ... See full summary »
The epic saga of a frontier family, Cimarron starts with the Oklahoma Land Rush on 22 April 1889. The Cravet family builds their newspaper Oklahoma Wigwam into a business empire and Yancey Cravet is the adventurer-idealist who, to his wife's anger, spurns the opportunity to become governor since this means helping to defraud the native Americans of their land and resources.Written by
There is a truly excellent Sfx sequence when Glenn Ford runs across the street outside his office to rescue his son from a galloping horse. The proximity of Ford and the little boy to the horse on close inspection reveals a masterful traveling matte which can only be discerned by the fact that the horse's shadow doesn't pass over Ford and the boy and for the very last frames does not seem to touch the ground as it runs by the camera. See more »
In the scene where Jessie Rickey is using a letterpress to print "wanted" posters of the Cherokee Kid and his gang, even though he handed a "fresh" copy to Yancey Cravat, he is running the press dry which would yield no printed impressions - on letterpresses of that type, ink would be applied to the lead type with a roller before the paper is laid down to be run through the press. Plus, he is taking the finished copies off and without looking placing them face down - any printer worth his salt would inspect every print for quality before setting it aside. See more »
One of the few pre-1965 westerns with depth, without being preachy
To sum up a in a sentence, this movie is about what happens with a couple in an early pioneer town of Oklahoma, where a man gets to do what he wants and a woman must do what she must. This is one of those movies that, unlike 90% of the "westerns" before the realist period (1965-present), has a lot more realism than one would expect from one produced in 1960. Not only does it depict violent racism, 19th century views on women, wayward youth, etc., it also depicts the nuances prevalent in a man desiring to give up, but incapable of burying, his wanderlust ideals (men are just boys with bigger toys) for the sake of his family. Just when one thinks the plot has died a death of boredom, another wrinkle of interest pushes it's way to the viewing screen provoking an astute viewer's enthusiasm for the story. Cimarron is one of those movies with just enough realism that it is a welcoming bridge from the 1950s 'cowboys & Indians' saccharine period to the ultra-realist, albeit minimalist, "spaghetti" westerns. If one doesn't fall in love (not in an amorous way) with Maria Schell in this movie then they haven't much of a heart anyway. This is a great western-genre movie with lots of characters to care about lovingly or with disdain.
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