Hapless driving instructor and former Gunnery Sergeant Rafferty, living in squalor near Hollywood, California, doesn't put up too much of a fight when two ladies hitch a ride and attempt to... See full summary »
During the 1920s, French Foreign Legion Major William Foster's unit is protecting an archaeological dig, but the discovery of an Arab sacred burial site prompts the angry Arab tribes to attack Foster's small garrison.
Teenager Ben Mockridge feels life in a Wild West farm town has nothing better to offer than horse-cart racing with other hicks, so he naively begs cattle company owner Frank Culpepper to engage him as the youngest cowboy for a long cattle trail to a fort. His mother barely notices. Ben doesn't even seem to get it when he's told to report as 'little Mary' to the old cook, whose words, "Cowboy is something you do only if you have nothing better." gradually become clear. Instead of an exciting heroic macho life, it's endless hard work, dumb chores and embarrassment, even getting literally caught with his pants down, robbed of his horse, and witnessing unpunished crimes...Written by
During the final shootout, a cowboy clubs another from horseback using a rifle and the arresting cable to prevent the cowboy from falling under the horse can be seen. See more »
I want to go with you, Mr. Culpepper. I ride real good and I can do a lot of things. I mean, I'll work at almost anything, Mr. Culpepper. I really want to go.
Because I want to be a cowboy more than anything, Mr. Culpepper.
Well, that's one hell of an ambition, boy.
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The Culpepper Cattle Co. is a splinter of the Western genre that was tagged as revisionist. Often the makers of such Oaters went for a more grizzled look at the West, even demythologising the Hollywood Westerns that had proved so popular for decades. Directed by Dick Richards, The Culpepper Cattle Co. is one such picture.
Young Ben Mockridge (Gary Grimes) wants to be a cowboy, to work on the drives and hone his gun play skills. When trail drive boss Frank Culpepper (Billy Green Bush) is in town, Ben begs him for work and is thrilled to be hired as the cook's Little Mary. What he isn't so thrilled about is actually what it's really like out there on a drive...
And so it comes to pass, young Ben is at the bottom of the cowboy ladder and Richards and his writing team ensure there is no glamour to be found. The drive is beset with thievery and rustling, killings, stampedes, inner fighting and very hard work for very little pay. The men on the trail all look the same, they dress the same, they smell the same, they are all worked hard and understand the same weary banter.
What camaraderie there is is kept to a minimum, they are a team in a working sense, but their loyalty only comes to the fore when they are tasked with fighting and killing' enemies. The bars are not all bright and sparkly, with a well suited man playing a piano, no these are dingy holes with dirty glasses. No bordello babes either, just a hapless lassie loaned out for services by a barkeep who has in his own mind some tenuous right to have her in his keep.
This is purposely downbeat, with the photography by Lawrence Edward Williams and Ralph Woolsey emphasising this fact by stripping back the colours for authenticity. While Jerry Goldsmith and Ralph Woolsey's musical score is deftly restrained, perfectly so. The story moves to its final conclusion, a confrontation that excites and depresses equally so, for even in the whirl of bullets and thundering hooves, the realisation dawns on Ben, and us, that nothing changes the life of the cowboys out there on the drives. It's live, work and die. Cowboyin is something you do when you can't do nothing else - Indeed! 9/10
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