Big Jake (1971)

big_jake_ver2Over the last decade of his career — the late 1960s and into the 1970s — John Wayne was wary of following along with the Hollywood trend of ultra-violent movies. He even turned down the Dirty Harry role, later doing 2 pretty mediocre cop movies. It’s oddly appropriate then that over the span one of his best movies (and a fan favorite) is one that embraces some bloody violence. Here’s 1971’s Big Jake.

It’s 1909 along the Texas/Mexico border when an outlaw, John Fain (Richard Boone), leads his gang of murderers and cutthroats in a vicious attack on the expansive McCandles Ranch. Ten people are killed, and ranch owner Martha (Maureen O’Hara) sees her grandson kidnapped. Fain demands a ransom of $1 million, leaving a note that says simply “Follow the map.” Knowing her grandson could be killed no matter what she decides, Martha seeks out her estranged husband, Jacob (Wayne), to take the ransom money into Mexico and get his grandson (who he didn’t know) back. With help from his two sons, James (Patrick Wayne) and Michael (Christopher Mitchum), and an old friend, Apache Sam Sharpnose (Bruce Cabot), Jacob agrees, setting off to bring his grandson back alive or his captors dead.

I’ve long been a John Wayne fan, and this 1971 western from director George Sherman (although it is reported Wayne helped direct with an ailing Sherman) has long been a personal favorite. I watched TV edited versions for years, so it’s always fun to pop in the DVD and see the full 110-minute movie! With its surprising violence and even some uses of blood squibs, ‘Jake’ is obviously a departure for Wayne. It’s balanced out though with some odd comedy (mostly works), a familiar, deep cast, and beautiful filming locations in Durango, Mexico — a favorite spot of Wayne to make movies; The War Wagon, Sons of Katie Elder, The Undefeated. This isn’t a western that rewrites the genre and is far from its revisionist peers of the time, but it’s damn entertaining from beginning to end.

By this point in his career, Wayne could have done a part like this with his eyes closed. To his credit, he never did. He brings a certain energy to the part, a rough edge as we learn about his Jacob McCandles and his past. This is easily one of his most quotable parts, the Duke delivering one crackling one-liner after another. It never feels forced, Wayne’s gruff delivery bringing it all together. His chemistry with his supporting cast is impeccable, especially his early (and too short) scenes with frequent co-star Maureen O’Hara. On the tough guy angle, his dialogue scenes with Richard Boone are pppppperfect, especially the build-up to the final showdown. Throw in the estranged father scenes as he reunites with his sons, Patrick Wayne’s James and Mitchum’s Michael, and you’ve got a bunch of positives in an at-times eccentric western.

The cast is far from done there, especially an underused Richard Boone as the calculating, brutal John Fain. Most villains cower in Wayne’s shadow, but not Boone. Watch THIS scene for an example (apologies for the low quality). Fain’s gang includes O’Brien (Glenn Corbett), a half-breed gunslinger, Pop Dawson (an unrecognizable Harry Carey Jr.), Kid Duffy (stuntman Dean Smith), a deadshot with a rifle, John Goodfellow (Gregg Palmer), a machete-wielding psycho, Trooper (Jim Burk), an Army deserter, and Will Fain (Robert Warner), John’s brother who favors a shotgun. Singer Bobby Vinton makes a brief appearance as Jake’s third son. Also look for recognizable western faces John DoucetteJohn AgarJim DavisHank WordenChuck Roberson (Wayne’s stunt double), and Roy Jenson. Wayne’s real-life son, Ethan Wayne, plays the kidnapped Little Jake.

After the opening narration and bloody and bullet-riddled raid, things settle in at a decent pace. Wayne’s introduction off a memorable line from O’Hara is a gem. From there, it’s a story on the trail as Jacob, his sons and Sam, and Jacob’s dog…Dog, trail Fain and the gang into Mexico, finally catching up in a boom town named Escandero. The final shootout and hostage exchange is a gem and the obvious highlight of the movie. It takes place in a walled-off Mexican compound — historically a key location in the Mexican Revolution — in the dead of night. Some great dialogue, a couple genuine twists and plenty of bullets flying.

One of my favorites, and a John Wayne gem. Highly recommended.

Big Jake (1971): ****/****

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Bend of the River (1952)

bend_of_the_river_-_1952-_posterWhen you think of all the great western directors that worked at the height of the genre’s success — the 1950s through the 1960s — plenty of names comes up, directors like John Ford, Sergio Leone, Sam Peckinpah, Howard Hawks, Budd Boetticher to name just a few.  And then there’s Anthony Mann, who rarely gets the credit he deserves for an impressive filmography. He’s often known for his films with star James Stewart, (8 pairings, 5 of them westerns)like 1952’s Bend of the River.

It’s 1866 and a wagon train is heading west to Oregon. Scouting for the wagon train is Glyn McClintock (Stewart), a former border raider who’s looking to go clean and put his checkered past behind him. The families traveling aren’t aware of Glyn’s past though. To them, he’s just a more than capable scout and gunman. Along the trail, Glyn rescues Emerson Cole (Arthur Kennedy) from a lynching, Glyn not sure if he saved a guilty or an innocent man. Cole decides to tag along, help Glyn and the wagon train make it to Oregon. More and more challenges await though, from Indians and bandits to problems from within. Can Cole go straight? Can Glyn escape his past?

Like any of the western director/star pairings listed above, the Mann-Stewart westerns have a rhythm, a formula they stick with through thick and thin. I’ll get into that formula more in-depth later, but the gist of it is simple. Released in the 1950s, these movies still have that traditional western feel of the 1940s/1930s while starting to tackle more adult/realistic issues that became prevalent throughout the 1950s. Throw in some beautiful filming locations, solid score and deep casts, and you’ve got a winning formula.

A staple of the Mann westerns was Stewart’s flawed, often tragic anti-heroes. His Glyn McClintock certainly qualifies. Stewart played tortured like few others. These aren’t super-heroic gunslingers who can do no wrong. He’s genuinely trying to go straight, to prove he’s a good man. Oh, and he may have to prove that with the lovely Laura (Julie Adams), the daughter of one of the farmers (Jay C. Flippen) on the wagon train. So if Glyn is trying to go straight, what about Cole? Kennedy is a scene-stealer as the ruthless gunfighter who you’re not always sure of his intentions….but you really are. There is little doubt where this is going, but in the meantime, Stewart and Kennedy are excellent in starring roles.

Another frequent Mann collaborator and a rising star in his own right, Rock Hudson has a fun supporting part as Trey Wilson, a young gambler who finds himself working on the trail with Glyn and Cole. In the wasted villain department, Howard Petrie plays Hendricks, the owner of an Oregon town with his hand in everything that will make him some money. Chubby Johnson and Stepin Fetchit are misused in a politically incorrect subplot about a river boat captain and his assistant. Also look for Harry Morgan, Jack Lambert and Royal Dano as troublesome drifters, and Francis Bavier (later Aunt Bea on The Andy Griffith Show) in a small part.

‘Bend’ was filmed on-location in Oregon — including Sandy River, Mount Hood and Timberline — and looks stunningly beautiful. The mountainous backgrounds are provide quite the different look for the story as Glyn, Cole and the wagon train navigate through all the snow-capped mountains. It isn’t the quickest moving story, but it’s never slow. Some good action along the way, and a more than capable cast to lead the way. Not the best Mann-Stewart pairing, but an above average western that’s definitely worth a watch.

Bend of the River (1952): ***/****

Rio Lobo (1970)

rio_lobo_1970Late in a career that spanned 6 decades (1920s through 1970s), director Howard Hawks went back to the well for what he knew audiences liked. Well, maybe what he liked too. After directing the classic 1959 western Rio Bravo, Hawks more or less remade the film 8 years later with El Dorado. He tried a third time, but didn’t wait as long for the trifecta with 1970’s Rio Lobo.

Late in the Civil War, a Union officer, Col. Cord McNally (John Wayne), is unable to stop Confederate raiders from stealing gold shipments being used for payrolls. He thinks one of his own men is selling information to the Confederate raiders, including Capt. Pierre Cordona (Jorge Rivero) and Sgt. Tuscarora (Christopher Mitchum), but the duo won’t tell him who until after their war. Once the war ends and the men go their separate ways, Cord hears from Cordona that he’s found one of the traitors in Texas. Cord heads for the town of Rio Lobo looking to find his man and get some answers (read = revenge). That’s not all though as Cord, Cordona (and some friends) get caught up in a range war with land and water deeds on the line.

Rio Bravo is untouchable in my mind. El Dorado, it’s pretty good but not quite as good. And Rio Lobo? It’s got more of a B-movie touch, a smaller budget, and is more interested in just being an entertaining western overall. There are good and bad, some obvious flaws, but it is damn entertaining. If you’re comparing the three like-minded movies, ‘Lobo’ borrows from both, but it leans more toward ‘Dorado,’ especially with the range war element. It was filmed on location in Old Tucson — where both previous films were at least partially filmed — with literally the same street being used for 2 different towns. There’s also a memorable if underused score from the always reliable Jerry Goldsmith. If there’s a flaw, it’s what Hawks once said about his films; characters are more important than story. He took that to heart in a big way, apparently rewriting the script during production.

A good counter to that? By 1970, John Wayne could have done a role like this in his sleep. Thankfully, he didn’t. He’s clearly having a lot of fun with a character with a twist. Not many Duke characters were looking for revenge! 63 years old at the time, Wayne even pokes some fun at himself, passing the love interest off to Rivero’s Pierre Cordona. The running joke becomes that old man Wayne is “comfortable” with men. In other words, he’s safe and won’t make a move on them. Rivero’s accent is a little much at times, but he has decent chemistry with Wayne. Mitchum is underused as the second banana, but he’s a likable on-screen presence, much like he was a year later when he paired with Wayne again in Big Jake.

The rest of the cast is hit or miss. A sex symbol of the 1970s, Jennifer O’Neill plays Shasta Delaney, a young woman with a checkered past searching for revenge. This is not a good performance to the point it is actually painful at times. The script does no favor for any of the female characters — Sherry Lansing and Susana Dosamantes — who aren’t given much to do and tend to overact/overdo it anyways. Still, for a lack of a better description, the babe factor is increased for a John Wayne western! The always welcome Jack Elam doesn’t show up until the second hour but hams it up as the shotgun-wielding Mr. Phillips. The villains — Victor French, Mike Henry, Robert Donner — make virtually no impression. Also look for David Huddleston, stuntman Dean Smith, Jim Davis, Edward Faulkner and Hank Worden in smaller parts.

A little slow at times and without much action, ‘Lobo’ doesn’t have much of a sense of urgency. The highlight is the first 35 minutes, a train heist with a unique twist unlike anything I’ve seen in a heist movie. The story goes the more traditional route after the first half-hour or so. It’s a touch disjointed blending the two and then adding another storyline, but it’s never dull. A bit of a guilty pleasure overall, but a worthwhile western just the same. Especially worthwhile for the Duke delivering a fun, even comedic part at times that balances out with the more action-heavy Duke. Also, see how many times you can spot Wayne stuntman Chuck Roberson in different roles!

Rio Lobo (1970): ***/****

 

The Glory Guys (1965)

glorguyposBy the mid 1960’s, Sam Peckinpah had written and directed many TV western shows, and also had 2 feature films to his name, The Deadly Companions and Ride the High Country. Peckinpah was quite a difficult person to work with – especially when he was directing – over his career, a trait he showed early and often. Depending on what you read, Peckinpah did a fair share of directing on 1965’s The Glory Guys only to be removed from the position.

In the American west, Capt. Demas Harrod (Tom Tryon) has been reassigned to the famous Third Cavalry stationed at Fort Doniphan. He’s served under the regiment’s power-hungry commander, General McCabe (Andrew Duggan), before and doesn’t relish the chance of doing so again. With a major campaign looming against massing Indian tribes, Harrod is assigned to D Company, a group of misfit recruits who are new to the regiment. Can he ready these inexperienced men in time for the upcoming campaign? Can he navigate a love triangle with a beautiful widow (Senta Berger) and the regiment’s chief scout (Harve Presnell)? Only time will tell.

It’s hard not to watch this film and not see the Peckinpah influence (he did write the screenplay). He would use many themes, characters and situations in his own 1965 western, Major Dundee (a personal favorite). And while it isn’t on the same level, ‘Glory’ is still pretty decent. A thinly veiled take on George Custer and the 7th Cavalry getting wiped out at the Little Big Horn, ‘Glory’ has flaws, but there are enough positives to give it a solid rating. Whether it was Peckinpah or fill-in Arnold Laven (a TV director), this western is pretty decent.

To say the least, the star power here doesn’t blow you away. Tryon and Presnell are okay, but they don’t command a lot of attention. Compare the duo to Charlton Heston and Richard Harris in ‘Dundee,’ and you see the disparity. Tryon’s Harrod is an interesting character, but there’s just not much life there. The same for Presnell’s Sol Rogers, an experienced frontier scout who should have been such a cool character. No one is done any favors by the love triangle storyline with the lovely Senta Berger, one of the dullest triangles I’ve ever seen. Harrod kinda wants her – he figures, I guess, kinda sorta – and there’s a fistfight or two but…pretty meh overall.

‘Glory’ is not surprisingly at its best when dealing with the inner workings of the Third Cavalry, and specifically Harrod’s D Company. His history with McCabe is checkered, so he wants to guarantee his inexperienced men are ready for battle. Is it traditional, even familiar stuff? Sure, but it’s handled well. Underused score (listen to the main theme HERE) from Riz Ortolani, and beautiful filming locations in Durango, Mexico (the same as ‘Dundee’) are big positives. The iconic shots of cavalry troopers silhouetted against a rising/setting sun, the traditional cavalry vs. Indians (never identified by tribe, just called ‘hostiles’), it all works pretty nicely.

The misfit recruits of D Company end up being more interesting characters than the leads actually. James Caan hams it up and chews the scenery as Dugan, the hard-drinking Irishman, with Michael Anderson Jr. basically prepping for his ‘Dundee’ role as a young trooper in love, with Slim Pickens whipping them into shape as the veteran sergeant. Also look for Adam Williams (the inexperienced trooper) and Erik Holland as Gentry, the worrying Scotsman. Also look for Wayne Rogers as Harrod’s second-in-command, and Peter Breck as the condescending, bullying Lt. Hodges.

Maybe a touch long at 112-minutes, ‘Glory’ takes a little while to get going. No real action to speak of other than a company-bonding fistfight early, but the campaign against the hostiles gets going over the last 40 minutes. There are some truly impressive sequences, hundreds of riders battling in a grassy, hilled valley as the Third (or Custer’s 7th) march into battle. Genuine scope here as we follow D Company in a beautifully done extended sequence. Who knows what Peckinpah filmed, but it speaks to a potential what-if. The quality of these scenes certainly show what was to come, both with Major Dundee and The Wild Bunch among others.

Disjointed at times, slow in other instances, ‘Glory’ is far from a perfect western. It’s highly entertaining though when it gets things right. Not easy to find, but western fans should like this one. Definitely give a watch. As sure as I say “not easy to find,” I found the full movie via Youtube. The link is below!

The Glory Guys (1965): ** ½ /****

There Was a Crooked Man (1970)

crooked_man

Kirk Douglas just turned 101 this past December. Douglas hasn’t worked in film in years, but pick a film of his and sit back and enjoy. He could play a noble, heroic character and then turn around and play a roguish villain, or often times somewhere in between. In a movie that bizarrely works in spite of some odd style choices, Douglas steals the show as a charming criminal in 1970’s There Was a Crooked Man.

After a successful robbery nets him more than $500,000, outlaw Paris Pitman Jr. (Douglas) is caught not too long after the robbery in a whorehouse. He’s only caught after hiding his massive haul though, but he refuses to give it up. Paris receives a 10-year sentence and is sent off to the territorial prison isolated in the middle of the desert. Figuring out the lay of the land (along with meeting his fellow inmates), Paris begins to plot his escape. The catch? Just about everyone knows he’s trying to bust out to get his money. A new warden, Lopeman (Henry Fonda), sees Paris in a different way. Looking to rehab prisoners rather than punish them, Lopeman thinks Paris can help the cause. Who blinks first?

What a weird western. As westerns tried to figure out what they were as a genre, ‘Crooked’ came along and chose just to go for it. First off, it is director Joseph Mankiewicz‘s only career western. Quite a departure from his usual films. Next, it tries to be equal parts folksy, comedic, dark and slapstick. There are sex jokes, plenty of nudity (male and female, including Douglas), odd slapstick scenes during a prison riot, poorly timed jokes, and a pretty awful theme song from Trini Lopez (listen HERE) that tries to play like a dark western fairy tale. Seems like a gimme, right? Aaaaaaaaand…..twist! It’s really odd and weird and very good!

The weirdness is held together by a cast that is clearly having a lot of fun, embracing all that weirdness! It starts at the top with Kirk Douglas, perfecting that roguish bad guy who can’t help but disarm everyone around him with that too perfect smile. Favoring some bright red hair and a pair of spectacles, Douglas’ Paris is able to manipulate anyone and everyone around him to get what he needs. As bad as he is, you can’t help but like him (at least a little bit). His scenes with Fonda are excellent, Fonda a new-age warden who wants the best for his prisoners. It sure takes him a while though to see through Paris’ scheming facade. Put 2 Hollywood legends together, and let them do their thing. They co-starred in 1965’s In Harm’s Way, but it’s cool to see them share some more screentime here.

‘Crooked’ boasts a pretty impressive supporting cast from top-to-bottom. Paris’ cellmates include Dudley (Hume Cronyn) and Cyrus (John Randolph), two older gay con men, Floyd Moon (Warren Oates), an antisocial outlaw, the Missouri Kid (Burgess Meredith), an aging bank robber who’s become used to prison life, Coy (Michael Blodgett), a naive youngster sentenced to hang for murder, and Ah-Ping (Olympic decathlete C.K. Yang), a Chinaman who murdered his boss on the rail gang. Cronyn and Randolph are a scream together, the duo stealing scenes right and left. Meredith does the same, a smaller part but a worthwhile one. And Oates is excellent, underplaying his part as gunfighter Floyd Moon who believes he’s found a friend in Paris. An eclectic, quirky group to back up Paris.

Also look for Alan Hale Jr., Victor French, Arthur O’Connell, Lee Grant, Bert Freed and Gene Evans in smaller supporting parts. Throw in a goofy, similarly quirky musical score for some extra oddness. The filming location of the isolated, high-walled rocky prison is a gem. Most of the movie takes place within the walls, the territorial prison becoming an additional character in this oddball western.

What sets ‘Crooked’ apart through the odd tonal shifts and general goofiness is where it ends up. The last half hour of the 123-minute movie has some major surprises in store. Then, when you think the twists are all finished, the final scenes hold a huge twist. It’s not often you watch a western with some worthwhile twists, so take advantage of this one. For all its faults, it’s worth it. ‘Crooked’ is a generally forgotten western, but it is definitely worth a watch, especially with Kirk Douglas and Henry Fonda leading the way. No trailer below (for a change) because there’s some really stupid revelations about where the movie ends up, and you don’t need that in your life.

There Was a Crooked Man (1970): ***/****

 

The Ox-Bow Incident (1943)

the_ox-bow_incident_posterThe western isn’t often thought of as a genre that delivers a lot of message films. There are exceptions of course, like The Searchers (in a way) or Dances With Wolves (good but heavy-handed). One of the best was released in 1943, The Ox-Bow Incident.

It’s 1885 in Nevada as small-time cattle ranchers Gil Carter (Henry Fonda) and Art Croft (Harry Morgan) ride into a quiet, small town in the hills looking to get a drink and a good meal. Rustlers have been working in the area, putting the ranchers and townspeople on high alert, especially when news reaches town that a popular rancher has been murdered and his cattle stolen. An angry, murderous posse forms, led by a former Confederate officer, Major Tetley (Frank Conroy), that heads out on the trail, following reports of three men herding cattle into the mountains. Are they the rustlers? If they catch up, will they be brought to justice or promptly lynched?

Based on Walter Van Tilburg Clark’s novel of the same name, ‘Ox-Bow’ is a western ahead of its time. A box office flop, there’s no action, no romance (except for one odd exception), and a story that is bleak and depressing to say the least. What’s not to love?!? From director William Wellman, it’s a gem, an honest look at the wild west. There’s no romance, no perception of the glory or honor of America’s history in the west in the late 1800s. Just an indictment of mob mentality who thinks they know what is right and wrong.

Wellman filmed ‘Ox-Bow’ on basically two sets, one a western town in the Hollywood backlots and the other an indoor set standing in for the spot where the posse catches up to the believed rustlers. It’s equal parts uncomfortable, quiet and claustrophobic, all wrapped up in a 75-minute movie. There’s one odd scene where Fonda’s Carter meets a former love on the trail, but other than that, it’s a tight, well-executed final product.

Throughout his career, Fonda had a knack for playing the Everyman, the average Joe thrust into not so average situations. He can underplay a part (in a good way) and then come to life in a flash. That’s his Gil Carter, a cowboy and rancher who wants to know the truth before acting, to think things through as much as possible. Morgan is solid as his sidekick, equally quiet and worried they might be thought of as rustlers if they start acting funny.

The rest of the cast is broken down into 2 groups, the posse and the believed rustlers. The trio of potential rustlers includes Dana Andrews in a scene-stealing part, Anthony Quinn and Francis Ford (John Ford’s older brother). Three very different parts, but the best kind of variety as the trio tries to convince the posse that they’re innocent. Andrews delivers a memorable turn especially, desperately trying to convince the posse they’ve got the wrong guys. The posse is frightening, a group of men who get angrier and angrier, their fury and rage blinding their decision-making. Along with Conroy, look for Jane Darwell, Harry Davenport (a voice of reason), Marc Lawrence, Paul Hurst, William Eythe (Tetley’s son) and Dick Rich.

When I think of dark movies like this, I describe them having a “sense of doom.” You just know watching ‘Ox-Bow’ that things aren’t going to end well. You just don’t know how it’ll go down. No spoilers here, so go in fresh without any knowledge of where the story goes. It’s a movie and a story that will no doubt stick with you long after viewing. A western classic for a reason.

The Ox-Bow Incident (1943): *** ½ /****

The Sons of Katie Elder (1965)

sons_of_katie_elder_1965John Wayne is my all-time favorite. He is, was and always will be the coolest. By the mid 1960’s, he was still one of the most bankable stars in Hollywood and around the world. His lifestyle — and smoking packs a day — took its toll though, with production on one of his movies being delayed for several months after he was diagnosed with lung cancer. One lung and two removed ribs later, Wayne came back with a vengeance, turning in one of his most underrated performances in 1965’s The Sons of Katie Elder.

It’s been 10 years since gunfighter John Elder (Wayne) has returned home. When he gets word that his mother, Katie, has died, John heads home to Clearwater, Texas. There he finds his three brothers, Tom (Dean Martin), a gambler/cardplayer, Matt (Earl Holliman), a hardware store owner, and Bud (Michael Anderson Jr.), the youngest brother and a college student. John and his brothers find out how much things have changed, not only the circumstances that led to Katie’s death, but their father’s death some 6 months earlier. The family ranch is now owned by an aspiring businessman/rancher, Morgan Hastings (James Gregory). John intends to find out what happens, righting any wrongs that may have been done on the family, but mostly, he wants to honor Katie and leave the Elder name in a positive way.

This was an interesting turning point in Wayne’s career. The health scare woke the Hollywood legend up in a way. From this point on, Wayne finished his career with more fan-friendly roles. He knew what his fans wanted and delivered. They weren’t always the deepest or most hard-hitting roles — there were exceptions, The Shootist, True Grit, The Cowboys — as Wayne surrounded himself with family, friends and plenty of familiar faces. As for ‘Sons,’ I maintain that it belongs in the list with the trio of movies listed above. It is one of my favorite westerns, not just a John Wayne western.

A lot to recommend here. It’s an old-fashioned good guys vs. bad guys western, but there’s more to it (in a big way). From director Henry Hathaway, ‘Sons’ blends familiar western elements and mixes in family drama and a bit of a murder mystery. Now that’s a unique premise! The filming locations in Durango, Mexico are a gem, a beautiful backdrop with cinematographer Lucien Ballard turning in one gorgeous scene after another. Oh, and music composer Elmer Bernstein delivers one of his best, most unheralded scores, including a highly memorable main theme. Give it a listen HERE.

I liked this movie as a kid, but I’ve loved it as an adult. Why’s that? I love the idea of family here, brought to life by Wayne, Martin, Holliman and Anderson. Their chemistry is impeccable. It’s simply perfect, brothers who haven’t seen each other in years and must get back together, reminiscing, bonding, arguing and fighting. Some of the movie’s best scenes are the quartet of brothers sitting at their Mom’s house talking…and arguing and even starting a fist fight. Katie ends up being an off-screen character too, a woman you feel like you’ve met by the end of the movie. Family is a key element in countless westerns, but it’s rare it felt this authentic from beginning to end.

It’s easy to shrug and say ‘Oh, that’s Wayne just playing the Duke.’ It’s fair depending on the role you look at. When he did it right though, it was just so perfect. He’s the iconic western hero — flawed but upright, fighting for what’s right, loyal and honest. His John Elder makes it look easy. Martin was always an underrated dramatic actor — just look at his other pairing with Wayne, 1959’s Rio Bravo — and he doesn’t disappoint here as Tom, always ready with a quip or a line or a gimmick. Holliman isn’t flashy, just solid as Matt, the brother who went straight. And Anderson holds his own as young Bud, no easy task with the talent around him.

A pretty cool cast backs up our brothers. James Gregory does what he does best, playing a smarmy, backstabbing villain with George Kennedy as his hired gun, Curley, Dennis Hopper as his bookish son, and Rodolfo Acosta as another enforcer. Martha Hyer plays Mary, a young woman who knew Katie well and tries to tell her boys what an impressive woman their Mom really was. Paul Fix and Jeremy Slate are excellent as Sheriff Billy, a calming, longtime peace officer and Deputy Ben, a hot-headed youngster trying to make his way. Plenty more familiar faces including Strother Martin, John Doucette, John Qualen, Rhys Williams, Sheldon Allman and even Karl Swenson playing dual roles.

At 121 minutes, ‘Sons’ is far from action-packed. There’s actually only one major set-piece, one major gunfight, set at the famously beautiful El Saltito waterfalls in Mexico. The beauty of it all? You don’t need the action. The story builds and builds, the tension growing as we learn the truth of what’s happened. It’s just a gem of a western that doesn’t always get its due. It should though. ‘Sons’ is an underrated classic.

The Sons of Katie Elder (1965): ****/****