After the Civil War, ex-Confederate soldiers heading for a new life in Mexico run into ex-Union cavalrymen selling horses to the Mexican government but they must join forces to fight off Mexican bandits and revolutionaries.
Texas Ranger Jake Cutter arrests gambler Paul Regret, but soon finds himself teamed with his prisoner in an undercover effort to defeat a band of renegade arms merchants and thieves known as Comancheros.
During the Alaska gold rush, prospector George sends partner Sam to Seattle to bring his fiancée but when it turns out that she married another man, Sam returns with a pretty substitute, the hostess of the Henhouse dance hall.
Cole Thornton, a gunfighter for hire, joins forces with an old friend, Sheriff J.P. Hara. Together with an old Indian fighter and a gambler, they help a rancher and his family fight a rival rancher that is trying to steal their water.
George Washington McLintock, "GW" to friends and foes alike, is a cattle baron and the richest man in the territory. He anxiously awaits the return of his daughter Becky who has been away at school for the last two years. He's also surprised to see that his wife Katherine has also returned. She had left him some years before without really explaining what he had done, but she does make the point of saying that she's returned to take their daughter back to the State Capitol with her. GW is highly respected by everyone around him, including the farmers who are pouring into the territories with free grants of land and the Indians who are under threat of being relocated to another reservation. Between his wife, his headstrong daughter, the crooked land agent and the thieving government Indian agent, GW tries to keep the peace and do what is best for everyone.Written by
This film has several flashback references to Hondo (1953), mostly about the Indian chief and John Wayne. Also, the Indian chief in this film is the same actor (Michael Pate) as the one in "Hondo". See more »
After the mud fight when Mrs. Warren is carrying Katherine's breakfast tray the teapot spout is pointing to her right at the bottom of the stairs but is pointing to her left when she knocks at Katherine's door. See more »
George Washington McLintock:
Agard, if you knew anything about Indians, you'd know that they're doing their level best to put up with our so-called 'benevolent patronage' in spite of the nincompoops that've been put in charge of it!
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"John Wayne Estate Authorized Edition" of McLintock is digitally remastered and in stereo. Contains the original music, background music, musical scenes, and dialogue (these are dubbed out in some other home video versions of the film). See more »
Lively star Western vehicle in comedy vein, patterned after NORTH TO ALASKA (1960) and with a "Taming Of The Shrew"-like plot that recalls THE QUIET MAN (1952; with the same leads) both of which, incidentally, I haven't watched in a long time!
As John Wayne grew older, his films settled into being safe and unassuming family fare which this one certainly is, making it undeniably the least of the Batjac films released on DVD so far! Through all these films, he managed to surround himself with reliable talent on both sides of the camera many of whom were already a part of "The John Wayne Stock Company". The script by James Edward Grant, Wayne's favorite writer, provides plenty of amusing situations which are gleefully met by the cast (particularly Chill Wills, Jack Kruschen and Strother Martin) including a free-for-all in the mud, a fist-fight during a town celebration, a drunken encounter with a flight of stairs and the come-uppance of both female members (Maureen O' Hara and Stefanie Powers) of the McLintock family at the hands of the Waynes (father John and son Patrick respectively) though the ponderous subplot involving the Comanches' last stand (headed by Michael Pate) feels somewhat incongruous alongside the brawling and the slapstick and should, perhaps, have been dropped altogether.
The supplements are of a similarly high quality as the rest of the Paramount "Batjac" releases: the Audio Commentary here is especially engaging for the way it places the film in the context of both Wayne's career and the revisionist attitude the Western genre would go through immediately afterwards; interestingly, as was the case with HONDO (1953), it's also mentioned that John Ford was asked to direct some sequences when the films' respective director became indisposed! Incidentally, I'll be watching the similarly boisterous DONOVAN'S REEF (1963) soon a film that has eluded me all these years despite being a perennial on Italian TV! and which proved to be the last of the innumerable collaborations between Wayne and Ford...
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