The Big Country (1958)
When I was growing up, back in the 1970s and 80s, one of the constant companions of my teenage movie viewing life was Leonard Maltin's Movie Guide. In those pre-Wikipedia and IMDB days, Maltin's book of capsule movie reviews was one of the few ways to easily access and cross-check information about movies seen on TV and early VHS. I always remember the lingering sense of disappointment when the (otherwise estimable) Mr. Maltin would dismiss or castigate a particular favorite film of mine. One of his reviews that has always stuck with me was his brief comment about one of my all time favorite films (not just westerns), The Big Country. It came down to one word - "overblown" - and what, to my mind, still is a grossly conservative three-star rating.
That word, "overblown," annoyed me then and still does today. Though I suspect there are many out there who may tend to agree with Maltin, I take strong exception to that word. The Big Country is indeed big. It's long, no doubt (2 hours and 46 minutes, to be precise.) Epic, yes. Dramatic...certainly. Sprawling, even. But overblown? I beg to differ.
Despite its inarguable sweep, its vast landscapes of prairie, rivers and canyons, its periodic bursts of violence and dramatic narrative beats, The Big Country is, in many ways, a very intimate, personal story, a study of character, ethics and family dynamics. And, standing in its center, is not the usual, quick on the draw, sixgun-packin' cowboy, but a deeply principled, pacifist hero.
That hero is Jim McKay (Gregory Peck), an experienced sea captain who met Patricia (Carrol Baker), the capricious young daughter of Texas rancher Major Henry Terrill (Charles Bickford), back East, fell in love and, as the movie opens, has given up his former life and traveled halfway across the country to marry her. Pat is delighted to see him, her father the Major seems initially taken with McKay's dignity and civility, but longtime ranch foreman Steve Leech (Charlton Heston) is less than impressed by McKay's dude-ish clothes and (as it seems to him) unmanly, weak behavior. McKay soon learns that things are done very differently out on the Texas range, and quickly finds himself in the middle of a messy and longlasting conflict between the socially-accepted Terrills and the more rough-hewn folk of the Hannessy clan. Patriarchs Maj. Terrill and Rufus Hannessy (Burl Ives) have been enemies for many years, both ranches adjacent to the one water source in the area, the Big Muddy. Both men want to get their hands on the deed to the land which the Big Muddy runs through, but that now belongs to Julie Maragon (Jean Simmons), the local schoolteacher and childhood friend of Pat. Julie is trying her best to follow the wishes of her grandfather, the original owner of the Big Muddy, to allow both the Terrills and the Hannessys access to water their cattle there, but is under constant pressure from both sides to sign over her lease on the land.
McKay is the unwitting catalyst that re-opens hostilities between the two families, after he and Pat are harassed on the way back to the Terrill ranch by Rufus's sons, led by no-good bully, Buck (Chuck Connors). McKay laughs off the episode as mere high spirits and has no wish for any vengeful reprisals, but this affront is too much for the Major and Pat to bear, and so Leech and some other Terrill hands are dispatched to give the Hannessy boys a good beatdown. Later, when the Major and his men ride roughshod through the Hannessey stronghold in Blanco Canyon when it's unprotected, it raises the ire of old papa bear Rufus, who crashes Jim and Pat's fancy engagement ball at the Terrill ranch. Rufus delivers a blistering speech of barely-concealed, righteous fury to the Major and the assembled throng:
After that, all bets are off.
A man of honor and principle, McKay refuses to adopt the local code of bragadoccio and self-aggrandizement. When he sees the sneers of the watching ranch hands when Leech dares McKay to ride "Old Thunder," a notoriously mean-tempered, unbroken stallion, McKay declines to play the game by their rules. Instead, assisted by kindly Mexican ranchhand Ramon (Alfonso Bedoya), McKay later spends a whole bruising day mastering the horse, without any witnesses, clearly displaying to the audience that he's no namby-pamby tenderfoot, but a proud, highly-capable man, who only has a need to prove his worth to himself, not others.
Needless to say, this doesn't sit well with the temperamental, spoiled Pat, who wants a man to constantly win her affections by public displays of bravery. As Pat grows increasingly frustrated with Jim, he in turn gradually comes to the conclusion that he may have bitten off more than he cares to chew with this father-fixated brat. In an effort to make one last attempt to save his dying-on-the-vine romance, Jim saddles a horse, and, guided only by his trusty old compass, heads off to survey the Maragon land surrounding the Big Muddy. He runs into Julie, working on the worn down old ranch house that once belonged to her grandfather. The two have an obvious, immediate rapport, and Jim sets off back to the Terrills as proud new owner of the Big Muddy, purchased as a wedding present for Pat, with the proviso that he will continue the tradition and let the Hannessys have equal water access as well as the Terrills. The reasonable McKay happily agrees.
Meanwhile, Pat and the others, thinking McKay a mere greenhorn who's surely gotten lost, send out a search party, led by a disgusted Leech. Steve himself is in love with Pat and is rabidly jealous of McKay, who he thinks is not man enough for her. When the party returns late at night to the Terrill ranch, Leech calls McKay out on his claim that he knew where he was the whole time, calling him a liar in front of Pat, the Major and everybody else.
McKay once again refuses to prove his manhood in front of others, strictly for show, on someone else's rules. This is the last straw for Pat, who calls off their engagement. McKay gently tells her he'll leave the house in the morning, but, in one of the movie's most celebrated scenes, heads over to Leech's cabin late that night, tells him to wake up, they've got some unfinished business to take care of. The two men move out into a wide field behind the bunkhouses and square off under the moonlight for a brutal, lengthy fistfight. Director William Wyler pulls the camera waaaay back, the better to show the insignificance of their struggle, two men battling away like tiny insects against the immensity of nature. As the leaner McKay goes blow for blow with the muscular Leech, the light begins to slowly dawn in the Terrill foreman's eyes - McKay is no mere pantywaist Eastern dude, but is in fact much more of a force to be reckoned with than he had at first supposed. As the fight ends in a draw, McKay pointedly asks: "Now tell me, Leech. What did we prove?"
The next day, McKay visits Julie to tell her that things are through between him and Pat, but that he still wants to stick around and run the Big Muddy. Julie rides out to confront Pat about what's going on. Pat unloads her feelings about Jim, which don't jibe with what Julie knows about Jim's character.
She tricks Ramon into telling them about Jim riding Old Thunder in secret. Pat still has no clue about the true mettle of her fiancee.
She then tells Pat that McKay had bought the Big Muddy for her. Ecstatic at the news, Pat rides into town to apologize and try to win back Jim's affections, but he gently tells her it's too late. When she learns of his plans to permit the Hannessys free use of the Big Muddy, Pat storms out, shouting "You'll never be half the man that my father is!"
Everything heads to a dramatic climax as Rufus, convinced by Buck that Julie is sweet on him, has Buck bring her to their ranch so he can arrange for their marriage...or, at the very least, buy the Big Muddy from her. Spurned by Julie, the craven Buck tries to rape her, but an enraged Rufus intervenes just in time, savagely smacking his son down. When the others realize that Julie is being held captive at the Hannessy's canyon stronghold, the Major and his men set out ostensibly to rescue her - though the Major really sees this as a chance to rid the land of the despised Hannessy clan once and for all. Realizing his true feelings for Julie, Jim is moved to take decisive action. Armed only with an old pair of dueling pistols and accompanied by Ramon, Jim rides into Blanco Canyon to get Julie out safely and try to stop any unnecessary bloodshed. But things don't prove quite so simple...
If the first two hours of The Big Country basically focus on setting up the story, fleshing out character and winding the emotional screws tight, the last 40-plus minutes bring the payoff, and boy, is it worth the wait. The movie really kicks into high dramatic gear in this last section, with Jim's squaring off against Buck Hannessey acting as counterpoint to the final, fatal throwdown between bitter old enemies, Rufus and the Major. The ending could hardly be more satisfying, both emotionally and thematically, and the film closes out on a lovely little moment of contemplation before Jerome Moross' bold, rousing theme music kicks in one last time.
On paper, Jim McKay might seem like a saintly stick-in-the-mud, goody two shoes sort of hero, but Peck plays him with such intelligence and quiet, internal strength, that he comes to vivid life. Peck's McKay is a character that has always struck a chord with me, ever since I first caught this film on TV back in my early teens. He's a man of steely moral fiber and autonomy, fair-minded to a fault. I like good old-fashioned, rootin'-tootin' tough hombre cowboy types as much as the next saddlebum; big, slow grizzlies like Duke Wayne, stoic, laconic loners like Gary Cooper and Randolph Scott, cynical antiheroes like Clint Eastwood and feisty, chip-on-their-shoulder types like Audie Murphy - those are all my kind of guys when it comes my usual western diet. That's partly what makes The Big Country special. Peck's Jim McKay really stands out from the pack. He feels like a truly unique character, pacifistic yet strong, under the surface no less tough, just in a less showy way. His presence gives this movie a different feel than the genre norm. I wouldn't go so far as to say that The Big Country is a western for those who don't like westerns; I think it's just as tied to the genre as anything. But I do think that it may be one of those movies that crosses genre lines, perhaps better appealing to non-western fans than the more typical shoot-'em-up.
As good as Peck and the rest of the cast are, it's Burl Ives who really pops. Completing his transition from easygoing troubadour (playing amiable sidekick to Audie Murphy in Sierra, for example) to bristling, bear-like authority figures, Ives leaps off the screen with ferocious intensity in The Big Country. Building upon his pivotal performance as Big Daddy in Cat on a Hot Tin Roof earlier the same year, Ives becomes a towering presence as Rufus Hannessey; Rufus might be rough and brutal, his ranch in Blanco Canyon less stately than the Terrills, but as the film progresses, it becomes very clear that, despite his appearance and "black sheep" reputation, he is a man of honor and hard-won principle. Ives brings a lusty, wily life to Rufus, and I imagine it's mainly he who looms largest in the audiences' minds long after the film ends. It's no surprise then that he won the Best Supporting Actor Oscar for this film (the only win that year for The Big Country, though Moross' score was also nominated, though criminally, lost.)
In contrast, Charles Bickford's Major Henry Terrill grows increasingly pigheaded and unsympathetic as the movie goes on, with his rigid sense of superiority, bigotry towards the so-called "white trash" Hannesseys, and willingness to trample over anyone who opposes his will. Luckily, Bickford exudes the sort of gravelly charisma and ramrod authority that makes him believable as a seasoned leader of men. His character is redeemed somewhat by being the centerpiece of one of the best moments in the entire film. Near the climax, Terrill is hellbent on heading into Blanco Canyon for a final showdown with the Hannesseys, regardless of all the lives his actions might cost. Steve Leech, a more thoughtful, changed man after his run-in with McKay, for the first time ever refuses to go along with the Major, his surrogate father figure. Terrill's men, more loyal to Leech than the old man, also decline to mount up for a ride into likely death. Terrill eyes his men, tersely announces: "So I'm alone in this. All right. I've been alone before," and gallops stiffly off on his own. Very soon, Steve's loyalty wins out and he charges off after the Major. This leads to the wonderful scene (accompanied by Moross' surging score) as Bickford rides tall and proud to his final reckoning, the massive cliffs of Blanco Canyon looming in the background, Bickford never looking back, his expression unchanged save for a slight, satisfied smirk, as first Leech, then, one by one, his other men, fall in line behind him.
Heston, his star on the rise in the late 50s, at first hesitated in taking what seemingly amounted to a mere supporting role, but Wyler kept after him and eventually Heston couldn't pass up on a chance to work with such a highly-regarded and successful director. It proved to be a wise decision, because not only was Steve Leech a terrific, showy part, but his rapport with Wyler during the filming of The Big Country directly led to his being cast as the lead in mammoth hit Ben-Hur the following year - which of course forever cemented Heston's superstar status. As Leech, Heston tempers the macho swagger and curled lip disdain with just the right amount of contemplative reflection.
Jean Simmons and Carroll Baker both do good work depicting two very different types of women. Baker is stuck playing a rather infuriating, brattish character but plays every scene with conviction. Simmons tones down her natural glamour and is equably believable as the calm, down-to-earth Julie, radiating wholesome goodness.
Just having started playing badass single dad Lucas McCain on TV's The Rifleman that same year, Chuck Connors gets a nice, meaty role as bad boy Buck Hannessey. Tall and rangy like a wolf, and sporting an impressive 'tash, Connors has a ball playing the polar opposite of his Rifleman character - rude, crude, boorish, menacing and, ultimately, cowardly. Buck is arguably the most despicable person in The Big Country, but by movie's end, emerges mostly as a tragic, pathetic figure. Alfonso Bedoya is delightful as Ramon, McKay's one true male friend in the film. Some modern viewers might wince at Ramon's broken English, but Bedoya brings a huge amount of heart and gravity to the line (when speaking of McKay): "A man like him is very rare." Unfortunately, Bedoya was a serious alcoholic and passed away shortly after completing work on this film.
Mention must be made of co-producer and director William Wyler, though what more can really be said of a man whose C.V. reads like a laundry list of stone cold classics? Jezebel, Wuthering Heights, The Westerner, The Letter, The Little Foxes, Mrs. Miniver, The Best Years of Our Lives, The Heiress, Detective Story, Roman Holiday, The Desperate Hours, Friendly Persuasion and Ben-Hur. The man was a legend, and The Big Country bears all the hallmarks of a master filmmaker firing on all cylinders.
By all accounts, The Big Country was a problematic production. Co-producers Wyler and Peck were never truly satisfied with the script (seven different writers took a crack at adapting Donald Hamilton's novel, including Jessamyn West), and both did constant re-writes all through production, which meant lots of late nights for the actors, who needed to learn new lines. The stress of wearing multiple hats took its toll on Peck and Wyler's relationship, eventually resulting in a blowout between the two men near the end of filming. Peck wasn't satisfied with his performance during an early scene and wanted to go back and reshoot it; Wyler's adamant refusal resulted in a disgruntled Peck walking off the set. Deeply offended by what he saw as Peck's challenging his authority as director, Wyler never spoke to Peck during the last few days of filming - or, indeed, for many years after the film wrapped. Jean Simmons also reported having an awful time making the film, claiming Wyler bullied her terribly. On the other hand, Ives and Heston had only good things to say about their time with Wyler on the set of the film. There were also assorted budgetary problems, delays and costly, wasted days that often plague the making of epics such as this.
For more personal anecdotes about Wyler and the making of The Big Country, check out this pair of interesting You Tube videos, featuring Peck and Heston:
Despite all this bad blood and backstage trouble, The Big Country comes off as sleek and polished a production as ever came out of Hollywood. The movie looks gorgeous; the cinematography by Franz Planer, and the way Wyler chooses and sets up his shots, show an artful intelligence in how figures are juxtaposed against vast landscapes (mostly California standing in for Texas, other than the Canyon de Chelly Monument in Arizona, for the climactic shoot-out in Blanco Canyon). And I'd be remiss in not mentioning the fantastic score by Jerome Moross - rousing, pulsepounding, immediately iconic. Moross did some good work elsewhere, but this doozy of a score is the one upon which his legacy ultimately rests. For my money, only a few other western soundtracks can match it for sheer majesty: Elmer Bernstein's one for The Magnificent Seven, and perhaps a handful of spaghetti western scores by Ennio Morricone, particularly Once Upon a Time in the West. You can check out a suite of Moross' score here.
The Big Country was a big success for nearly everyone involved (Peck claimed that the film made money for everyone else but him.) More than half a century later, the only success that really matters is how the film stands up creatively, as a piece of entertainment. Personally, I think it ranks among the very best westerns ever made. I've watched it so many times I've lost count, and like all great films, it keeps yielding up new riches, new details or flourishes, each time I see it.
We all have a handful of films that, whenever we catch them in progress on television, we can't help sitting down and watching to the end. The Big Country is one of those for me. It's big, it's long, it's dramatic.
It is, in a word, fabulous.
This post is my contribution to the Classic Movie Blog Association's "Fabulous Films of the 50s" Blogathon. Please click on the banner above or go here to check out all the other great entries from fellow CMBA members.
DVD and Blu-Ray Note: Most of the screen captures above were taken from the 2001 MGM standard DVD edition of The Big Country. A handful come from the Blu-Ray review of the movie at DVD Beaver, which can be found here. Obviously, the Blu-Ray version is the one to get - it looks amazing!
5/26/2014 01:45:41 am
BIG COUNTRY is indeed big, long, and dramatic. While it's not among my favorite Westerns, I still admire it for the depth it brings to its tale of families. I agree that Burl Ives is the standout in the cast. I don't think many people appreciated his ability to go from roles like this and CAT ON A HOT TIN ROOF to family fare like Disney's SUMMER MAGIC. By the way, Maltin's book was my go-to film guide as a kid, too.
5/28/2014 07:53:13 am
Thanks, Rick! Good point re: Burl Ives. While I haven't seen SUMMER MAGIC, I have seen enough of Ives' jolly screen persona to appreciate how well he can flip on a dime and become a powerful, roaring and at times malevolent presence. He's underappreciated, for sure ...much like THE BIG COUNTRY.
5/26/2014 02:15:21 am
Thanks for your intelligent and considered reassessment of this film. It's always a good idea to take a second look at movies, especially when such noted talents as William Wyler are involved.
5/28/2014 07:55:48 am
Thank you for the comment! Yes, it never pays to write off a film that's put together with such care and talent both in front of and behind the camera, without at least giving it a second shot. Of course, in my case, I loved THE BIG COUNTRY from the get go, and have given it many, many more looks than two.
Jeff, that's a terrific tribute to a great movie, Your passion for it really shines through and you deal with every important aspect of the story and production.
5/28/2014 07:58:38 am
Much appreciated, Colin - and thanks also for the mention on Facebook! Glad to see you love this movie, too. You're right that it probably wouldn't make many film buffs' top ten westerns, and that's fine, as there are certainly no shortage of great contenders out there. It's in my list, for sure, anyway.
5/26/2014 07:40:09 am
Wow! Truly one of the great movies of the 50s, and of all time. I'm another one who has seen "The Big Country" more times than I can count. I swear I am sincere when I tell myself I'll just listen to the opening theme, but my husband just shakes his head and says "She's gone again".
5/28/2014 01:45:01 pm
Caftan Woman, I'm so hear from another big fan of this movie. I definitely agree that the Steve Leech character is much more interesting than he might at first appear. He's much more than just an obstacle for McKay.
5/26/2014 07:53:17 am
This was a fabulous read on one of my favorite Westerns. Recently, my sister and I were watching The Farmer Takes a Wife ( with Charles Bickford again playing the pig-headed bully ) and the basic storyline is not unlike TBC. Fonda plays a quiet gentle man whom Janet Gaynor adores and yet is ashamed of when she comes to believe that he is a coward. He doesn't feel the need to prove that he is not a coward and so she - like Baker - snubs him. McKay really is a giant of a man and the more gentle he gets the stronger he becomes. I chose to write about that other "big" western, Giant, for the blogathon and after reading your post, I'm realizing that it took Bick Benedict three-quarters of the film to become the man that McKay was...a man willing to stand up for his convictions.
5/28/2014 01:59:39 pm
Thank you so much, Constance! I'm glad to see you stop by. Thanks for letting me know about THE FARMER TAKES A WIFE, a film which I've never seen but will try and seek out now based on your notes here.
Connor, Ives, Peck...I'm good with overblown. Big, long ride of wonderful for me! Funny your bring up Maltin's movie guide. During the 90s I bought this really thick movie guide at Blockbusters and I wore that dang thing out between movie trivia night and finding a good classic film to watch. I still have it. Great source of information.
5/28/2014 02:07:21 pm
Thank you, Page! Agreed here, nothing wrong with big, bold old-school movie making! About the long issue...A lot of people carp about long movies, but to me the length is never important if the movie keeps me glued to the screen throughout. I mean, DAS BOOT is 4 hours long, but every minute is gripping. Whereas I've seen plenty of movies with run times of 90 minutes or less that feel like they last for days.
It IS fabulous, like you said. I disagree with Leonard Maltin – this movie is not what I would describe "overblown".Such a great cast, and beautifully filmed. Your review has certainly done it justice.
5/28/2014 02:08:52 pm
Hi Ruth! thank you for the kind words! By all means, feel free to link to my post when you do your own review of this movie. I look forward to hearing your thoughts on it - with that typical Silver Screenings polish and wit!
5/26/2014 11:55:39 pm
Great review Jeff, well done. I've always loved this film and still treasure my Laser Disc release and the my CD of the great music by Jerome Moross, Annoyingly the Blu-ray was screwed up so that the images are slightly squeezed as they didn't make the correct adjust for the Aspect Ratio for Technirama which is just maddening - it has great colours and is pretty sharp but everybody looks a bit fat!
5/28/2014 09:53:58 pm
Cheers, Sergio! Yes, the CD of the score is terrific, I have it as well and listen to it often. I've heard lots of talk about the Blu-Ray aspect ratio problems (not to mention the slight color change during the opening credits), but I can't say it's anything I noticed particularly. I also have a BD-R of an HD broadcast from Japanese TV, and haven't noticed much difference between them. Perhaps I'm less sensitive to those things if they're small enough flaws. The color and clarity of the Blu-Ray are first rate overall, anyway. I doubt we'll see a corrected version any time soon, unfortunately.
5/27/2014 01:38:23 am
Jeff, this is one heck of a review and I absolutely liked reading your take on this epic western which, happily, I haven't seen yet. You have dissected this film so well that I could play out the scenes as I read through. I'm going to go looking for a DVD.
5/28/2014 09:57:24 pm
That's most kind of you to say so, Prashant - thank you! I hope I didn't go into too much detail for you in the review...don't want to spoil your enjoyment. And please stop back and let me know what you think of it when you do see it (or better yet, write a post about it on your own excellent blog). I think, since you're a big western book fan, that you'll get a big kick out of this one.
5/27/2014 08:23:04 pm
Congratulations, Jeff, on a stunning review of a great film. You have given it the full attention and extended discussion it deserves.
5/28/2014 10:01:33 pm
Aw, shucks, Jerry - you're too kind! Much appreciated, though! That's very cool, that you have the original LP of the Moross soundtrack. It is, as you say, such a wonderful piece of work. It's getting so I almost prefer the secondary theme (I think it's called "The Welcoming" - or at least, the version of that tune, triumphantly played as Steve and the other men ride up behind Maj. Terrill near the finale.)
5/30/2014 01:33:17 am
Yes, Jeff, "The Welcoming" is perhaps my most favourite piece from the whole soundtrack. Beautifully constructed.
5/28/2014 09:28:56 am
Goofiest aspect of the film: the tendency of most of the cast to remind each other that "This is a big country" at multiple opportunities in the first hour or so.
5/28/2014 10:10:51 pm
Hey Todd - great to see you around these parts! Re: the various characters repeating "It's a big country" often doesn't bother me, but I bet Jim McKay got sick of hearing it. Glad you brought up Wyler's (and others) Cold War subtext...I don't really see it myself, but then I'm never one to go looking too hard for such things. I'm sure Wyler probably honestly intended it to be there, but for me, there's enough thematic meat on the bone here with what's in the foreground to keep me satisfied without getting distracted too much by sifting for contemporary political allegory. Again, that's just my personal take. It is an amusing way to look at the movie, for sure.
5/29/2014 12:54:13 am
Thanks for the post! And...well...[distracted by proximity to young Raquel Welch demonstrating rather tellingly why her upper abdomen might not be the only distracting aspect to her look]...
5/29/2014 07:47:27 am
Now THAT'S the kind of distraction I can completely understand. :) Oh, look - Caroline Munro! Now, what was I saying...?
5/29/2014 11:30:56 am
If they ever made a better western, I haven't seen it.
5/29/2014 01:37:14 pm
Yes, indeedy...hard to choose between THE BIG COUNTRY and SHANE - so why bother? Both are great westerns, and fit easily in my own top 5 fo sure. Picking a Top 5, or 10, or, heck, even Top 20, is agonizingly hard, though. I've thought of doing a post on that very topic, but to choose only 20 from such a cornucopia of goodness is daunting.
5/30/2014 08:01:25 am
This is a wonderful movie and I thoroughly enjoyed revisiting it in my mind's eye thanks to your post.
5/31/2014 09:51:45 pm
Thank you for the comment, Laura! I understand not wanting to upgrade when you have an acceptable DVD copy of a given movie in your collection already. I do think, Sergio's above-listed caveats aside, the picture quality of THE BIG COUNTRY Blu-Ray is worth the purchase.
6/3/2014 12:10:36 pm
I really like The Big Country. You're right to spotlight Burl Ives' performance--he was great in this. Gregory Peck could never do wrong in my opinion, and his Pat is probably the sexiest pseudo-pacifist to ever grace a western. I couldn't stand Carol Baker's character, but that, like you pointed out, was because she was written that way. Loved Jean Simmons in this! Great post!
6/3/2014 10:13:46 pm
Thanks, Kim! Yes, the cast sure is great, isn't it? I dislike Carroll Baker's character too, but that just shows how good a job she does in that part. Appreciate the comment!
6/3/2014 11:28:56 pm
Thank you for the comment, Vienna! That music is wonderful, ain't it?
9/5/2014 01:25:36 am
Great review of a wonderful movie. I remember my grandfather complaining about the movie's "foreground music" when it first came out. It ruined it for him. I love the music.
11/22/2014 08:36:46 pm
Belated thanks, Rod, for your comment and the correction re: the "Blanco Canyon" filming location. Most appreciated!
Comments are closed.
Opinionated ramblings about new and old movies (mostly old, as that's the way I like 'em!)
Blogs of Note
Stuart Galbraith IV's World Cinema Paradise
Movie Morlocks (TCM's Classic Movie Blog)
50 Westerns from the 50s
Riding the High Country
Tipping My Fedora
Thrilling Days of Yesteryear
Laura's Miscellaneous Musings
Classic TV and Film Cafe
Just a Cineast
She Blogged By Night
Chess, Comics, Crosswords, Books, Music, Cinema
Out of the Past -
A Classic Film Blog
Pretty Sinister Books
They Don't Make 'Em Like They Used To
In So Many Words...
Greenbriar Picture Shows
My Love of Old Hollywood
Tales of the Easily Distracted
Another Old Movie Blog
Lasso the Movies
Kevin's Movie Corner
Films From Beyond the Time Barrier
Carole & Co.
Rupert Pupkin Speaks
Vienna's Classic Hollywood
The Lady Eve's Reel Life
ClassicBecky's Brain Food
Be sure to subscribe to the RSS feed below, to be informed of new postings!