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McCabe & Mrs. Miller (1971)

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A gambler and a prostitute become business partners in a remote Old West mining town, and their enterprise thrives until a large corporation arrives on the scene.

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(novel), (screenplay) | 1 more credit »
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Nominated for 1 Oscar. Another 1 win & 3 nominations. See more awards »

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Cast

Cast overview, first billed only:
... John McCabe
... Constance Miller
... Sheehan
... The Lawyer
... Smalley
... Mr. Elliott
... Bart Coyle
... Ida Coyle
... Cowboy
... Sears
Antony Holland ... Hollander
Hugh Millais ... Butler
Manfred Schulz ... Kid
Jace Van Der Veen ... Breed (as Jace Vander Veen)
Jackie Crossland ... Lily
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Storyline

Set in winter in the Old West. Charismatic but dumb John McCabe arrives in a young Pacific Northwest town to set up a whorehouse/tavern. The shrewd Mrs. Miller, a professional madam, arrives soon after construction begins. She offers to use her experience to help McCabe run his business, while sharing in the profits. The whorehouse thrives and McCabe and Mrs. Miller draw closer, despite their conflicting intelligences and philosophies. Soon, however, the mining deposits in the town attract the attention of a major corporation, which wants to buy out McCabe along with the rest. He refuses, and his decision has major repercussions for him, Mrs. Miller, and the town. Written by John J. Magee <magee@helix.mgh.harvard.edu>

Plot Summary | Add Synopsis

Taglines:

The story of a gambling man and a hustling lady. See more »

Genres:

Drama | Western

Certificate:

R | See all certifications »

Parents Guide:

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Details

Country:

Language:

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Release Date:

24 June 1971 (USA)  »

Also Known As:

McCabe & Mrs. Miller  »

Filming Locations:

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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.40 : 1
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Did You Know?

Trivia

It began snowing near the end of shooting, when the church fire and the standoff were the only scenes left. Warren Beatty did not want to start shooting in the snow, as it was in a sense dangerous (expensive) to do so: to preserve continuity, the rest of the film would have to be shot in snow. Robert Altman countered that since those were the only scenes left to film, it was best to start since there was nothing else to do. The "standoff" scene and its concurrent church fire scene, were shot over nine days. The heavy snow, with the exception of a few "fill-in" patches on the ground, was genuine; the crew members built snowmen and had snowball fights between takes. See more »

Goofs

At 1:54:45 (McCabe stumbling away from the wagon in the snow) there's a camera crew visible on the left for a couple of seconds. See more »

Quotes

[first lines]
John McCabe: [muttering to himself] I told you... Think I'm stupid?... S'exactly what I said. Six, six of 'em...
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Connections

Referenced in The Claim (2000) See more »

Soundtracks

Sisters of Mercy
Written and Performed by Leonard Cohen
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Frequently Asked Questions

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User Reviews

Within
4 December 2003 | by See all my reviews

Spoilers herein.

Filmmakers - intelligent ones - have to choose where they live in a film. The ordinary ones attach themselves to the narrative, usually the spoken narrative, so we get faces and clear, ordered speech to tell us what is going on. These are the most formulaic because there are after all only so many stories that are presentable.

Some attach themselves to characters, dig in and let those characters deliver a tale and situation. Often with the Italians and Italian-Americans, the camera swoops on a tether attached to these characters. I consider this lazy art unless there is some extraordinary insight into the relationship between actor and character.

And then there the few who attach themselves to a sense, a tone, a space. That situation has ideas and stories and talk, but they are only there as reflections from the facets of the place. Of the three, this is the hardest to do well; that's why so few try. And of those that do, most convey style only, not a place, not a whole presentation of the way the world works.

This film is about the best example I know where the world is 'real,' the situation governs everything and the primary substance is the presentation of a Shakespearian quality cosmology of fate.

The camera moves not so much with the story, but it enters and leaves. And there is not just one story, but many that we catch in glimpses. Words just appear in disorder as they do in life. Not everything is served up neat. We drift with the same arbitrariness as McCabe. It is not as meditative as 'Mood for Love' as it has something we can interpret as a story to distract us.

So as a matter of craft, this is an important film, one with painful fishhooks that stick. Beatty had already reinvented Hollywood with 'Bonny,' and was a co- conspirator in this. (If you are into double bills, see it with 'The Claim,' which is intended as a distanced remake/homage, that obliquely references Warren.)

Quite apart from the craft of the thing, and the turning of the Western on its head long before 'Unforgiven,' there are other values:

  • the notion that actors are imported into a fictional world as whores. Not a new idea for sure, but so seamlessly and subtly injected here, it becomes just another one of the background stories. (Also referenced in 'Unforgiven.')


  • the business about the preacher trying to wrestle some old school order from the overwhelming mechanics of arbitrary fate. This is the director's stance.


  • the final concept that the whole thing, McCabe and church and all is an opium dream of the aptly named 'Constance,' dimly reinterpreting other events after the fashion of 'Edwin Drood.'


Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.


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