25 WESTERN MOVIES TO ENJOY

 I recently produced a 25 ESSENTIAL WESTERNS blog. There I took on the foolhardy task of compiling a list of ESSENTIAL westerns, movies you just have to see to appreciate the western at its best, at its most ground-breaking, and touching the main western bases. Films featuring the key western actors and directors. Find it here: https://andrewmcbrideauthor.blogspot.com/2020/09/25-essential-western-movies.html

I’ve decided to supplement this list with a further 25 WESTERNS TO ENJOY, movies that aren’t ground-breaking or innovative but show the western at its most entertaining. Some of these films have considerable artistic merit and/or thought-provoking elements, such as a debate on the validity or otherwise of violence/ the treatment of the Native Americans etc., issues the western has often addressed. Others are simply good shoot ’em up fun to keep a viewer entertained for a couple of hours. A few might be described as ‘guilty pleasures,’ personal favourites that I seem to be in a minority in enjoying. So not all of the following films are great, or classic, but all have given me plenty of enjoyment.

This isn’t anything like a complete list and I could have included more. I decided to stop at 25, for no particular reason, or I’d be writing the world’s longest blog. Between my ESSENTIAL westerns blog and this one, there’s hopefully enough to introduce someone new to westerns to the genre, to help them ‘get’ westerns – and have a good time doing it. If a favourite movie of yours isn’t here, it may be because it’s already appeared on my ESSENTIAL list. The films listed there are: THE COWBOYS, FORT APACHE, THE GUNFIGHTER, HOMBRE, JESSE JAMES, THE LEFT-HANDED GUN, LITTLE BIG MAN, A MAN CALLED HORSE, MY DARLING CLEMENTINE, THE NAKED SPUR, THE OX-BOW INCIDENT, RED RIVER, RIDE THE HIGH COUNTRY, RIO BRAVO, THE SEARCHERS, SHANE, THE SHOOTIST, STAGECOACH, THE TALL T., 3.10 TO YUMA, UNFORGIVEN, VERA CRUZ, WAGON MASTER, THE WILD BUNCH, WILL PENNY, BAD DAY AT BLACK ROCK and LONELY ARE THE BRAVE.

Because I’m expressing my opinions throughout, I decided to forgo the use of phrases like ‘in my view’ or IMHO as I’d be repeating them endlessly.

Films are listed in alphabetical order, not in any order of merit.

THE BIG COUNTRY (1958)

Easterner GREGORY PECK gets a rough ride from the locals when he arrives on the cattle ranges of Texas, and then gets caught up in a private war between two rival ranchers. Big-scale, intelligent western with a great theme tune by JEROME MAROSS. BURL IVES steals every scene he’s in as one of the warring ranchers, winning an Oscar in the process. 

BUTCH CASSIDY AND THE SUNDANCE KID (1969)

I really enjoyed this movie when it first came out, but I’ve gone off it somewhat over the years. The script feels a little anachronistic and the two leads come over as men of the 1960s, not the 1890s. I also find the ‘Raindrops keep falling on my head’ sequence a bit cloying. Having said that, there’s plenty of wit in the script, the ‘chase’ sequence is very well done and visually striking and there’s a tremendous shoot-out at the end.

THE COMANCHEROS (1961)

In ‘The John Wayne Scrapbook’ Lee Pfeiffer writes: ‘The Comancheros isn’t often discussed as a masterpiece, and perhaps it isn’t. However, it would be difficult to find a western that is more enjoyable to watch.’ That about sums up this cheerful, zestful ride. JOHN WAYNE shades into James Bond territory as a Texas Ranger who goes undercover to break up a gang in league with hostile Indians. Great fun, and Wayne has tremendous chemistry with co-star STUART WHITMAN and villain LEE MARVIN.

CUSTER OF THE WEST (1967)

I seem to be in a small, select band in my admiration for this action-packed western, with plenty of Cinerama spectacle. English actor ROBERT SHAW was unlikely casting as the ‘boy General’ but gives a typically powerful performance as a conflicted, driven man.

 FLAMING STAR (1960)

Another artistic success for DON SIEGEL who rose in stature as a director through the 50s. Helped by a taut script, based on a CLAIR HUFFAKER novel, Siegel manages to get a good performance out of his star, ELVIS PRESLEY, in a serious, mostly non-singing role. Presley is supported by an able cast including STEVE FORREST and JOHN McINTIRE. The film mixes tough action with some sympathy for Native Americans.

FORT MASSACRE (1958)

Largely unknown U.S. Cavalry versus Indians western, with JOEL McCREA playing against type as a soldier whose hatred of Apaches drives him to destruction in harsh desert surroundings. Notable for the visceral (for its time) action scenes.

THE GREAT NORTHFIELD MINNESOTA RAID (1972)

The best movie on JESSE JAMES - just called 'JESSE JAMES' (1939) - is on my essential list. THE GREAT NORTHFIELD MINNESOTA RAID makes an interesting contrast, as both movies reflect the times when they were made. NORTHFIELD is very much of the 'revisionist' era and takes a cynical, blackly comic look at this famous outlaw and his associates. The film postulates that COLE YOUNGER (played by CLIFF ROBERTSON) was the real 'brains' behind the James/Younger gang. It also breaks the mould in having an actor play Jess - ROBERT DUVALL - who actually looks like him!

GUNFIGHT AT THE OK CORRAL (1957)

One of several enjoyable takes on the story of WYATT EARP, which also includes HOUR OF THE GUN (1967) and the fictionalisation WARLOCK (1959.) Lacking the beauty and artistry of the best of these - JOHN FORD’s ‘My Darling Clementine,’ - but a good example of the well-made traditional western, chronicling the events leading up to the fabled gunfight. KIRK DOUGLAS gets my vote for best screen DOC HOLLIDAY in his portrayal of the tortured, self-destructive dentist-turned-gun man.

GUNMAN’S WALK (1958)

One of those quiet, below-the-radar movies that made the 50s a golden age for western film. A strong debate on the morality of violence underpins this tale of a rancher (a typically intense performance by VAN HEFLIN) and his two sons as they come into manhood.

THE MAGNIFICENT SEVEN (1960)

This film is tremendously popular and any criticism of it I make is going to arouse the ire of western movie fans. But I’m going to risk it anyway. One reason I think ‘Magnificent’ is ‘good not great’ is that I saw it after seeing ‘The Seven Samurai,’ the Japanese masterpiece directed by AKIRA KUROSAWA. ‘Samurai’ is such a staggeringly brilliant film it eclipses any follow-up.

SEVEN SAMURAI (1954)

Further, I’d quibble with some of the casting in ‘Magnificent’; I’ve never really bought ROBERT VAUGHN in westerns, and I don’t think YUL BRYNNER, BRAD DEXTER and (particularly) HORST BUCHHOLZ are well cast. On the plus side you have solid work from STEVE McQUEEN and JAMES COBURN, CHARLES BRONSON and ELI WALLACH are both outstanding in their roles, there’s some memorable dialogue (‘We deal in lead, friend’) and good action scenes. Topped off by one of the greatest scores – written by ELMER BERNSTEIN - in western movies.

ONE-EYED JACKS (1961)

Based loosely on CHARLES NEIDER’s great novel ‘The Authentic Death of Hendry Jones’ – which is a fictionalisation of the life of BILLY THE KID. MARLON BRANDO directed and starred, getting strong performances out of KARL MALDEN, SLIM PICKENS and BEN JOHNSON, all playing villains. Set in an unusual location for westerns – the Pacific coast of California.

THE OUTLAW JOSEY WALES (1976)

CLINT EASTWOOD directed and starred in this 'revisionist' western about a loner fighting the American Civil War long after it's ended. Maybe it rambles on too long, and Eastwood is too super-human to fully engage with, but there's much for western aficionados to enjoy, from the visual splendour of the landscapes to the laconic dialogue leavened with black humour and the punchy action scenes.

PILLARS OF THE SKY (1956)

The U.S. Cavalry and Indians clash in 1868 Oregon. Part of the 1950s cycle of sympathetic-to-Native Americans movies that included BROKEN ARROW, APACHE, DEVIL'S DOORWAY, SMOKE SIGNAL and WHITE FEATHER, any of which might have made this list. A highlight is the excellent running-fight battle sequence.

RIDE LONESOME (1959)

I’d rate ‘The Tall T’ the best of the quality westerns RANDOLPH SCOTT made with director BUD BOETTICHER, but this comes second. A small-scale production about a handful of characters crossing a hostile wilderness, and all the better for its tautness and simplicity.

RUN OF THE ARROW (1957)

Long before 'Dances with Wolves' there was this film, written and directed by SAMUEL FULLER, about a white man so alienated from white society he prefers to live with the Sioux. An unusual and original take on Native American society, although it's never explained why southern-born ex-Confederate ROD STEIGER has an Irish accent! STEIGER sometimes hams it up, but that's counter-balanced by effective underplaying by BRIAN KEITH, RALPH MEEKER and CHARLES BRONSON (as a Sioux chief.)

THE SCALPHUNTERS (1968)

BURT LANCASTER sends himself up as a rough-hewn fur trapper partnering a black slave (OSSIE DAVIS) - who turns out to be a much brighter and more sophisticated man. They pursue a ruthless gang led by TELLY SAVALAS in an enjoyable, energetic, comedy-western romp.

SHE WORE A YELLOW RIBBON (1949)

My favourite of the acclaimed’ cavalry trilogy’ director JOHN FORD made with JOHN WAYNE is ‘Fort Apache,’ but this instalment also has many strengths, from WINSTON HOCH’s Oscar-winning colour photography to John Wayne’s wonderful performance as a man much older than his actual years.

THESE THOUSAND HILLS (1959)

The great western novelist A. B. GUTHRIE JR. felt this was the best film adaption of his work. If you ignore the syrupy theme tune and the slightly sanitised look, this is an authentic take on life on the cattle ranges of 1880s Montana. With a bit more grittiness it might have approached Shane-level greatness.

A THUNDER OF DRUMS (1961)

An under-appreciated western about a remote U.S. cavalry outpost. Some of the younger actors – GEORGE HAMILTON, RICHARD CHAMBERLAIN – are a little bland and modern-seeming, but RICHARD BOONE holds it together as the tense, hard-bitten commanding officer, displaying what one critic called ‘craggy nobility.’ The film climaxes with Boone and his troops pursuing raiding Apaches into stunningly-photographed Arizona locations.

TRIBUTE TO A BAD MAN (1956)

Late in his career, JAMES CAGNEY made a few westerns. This gritty tale, based on a JACK SCHAEFER story, deals with the very real Old West issue of lynching. Cagney gives a fine performance as a rancher with ‘hanging fever.’ There’s excellent support from IRENE PAPAS and STEPHEN McNALLY, strong location photography and an authentic take on the bleak lives cowboys often lived. One caveat: I don’t like the title!

TRUE GRIT (1969)

JOHN WAYNE finally picked up an Oscar (which he should have won 20 years earlier for ‘She Wore a Yellow Ribbon’ or ‘Red River’) with his roistering performance as wayward lawman Rooster Cogburn. Cogburn’s character switches from rascally to clownish to heroic, an acting challenge Wayne more than meets, and he gets strong support from KIM DARBY and ROBERT DUVALL.  

VALDEZ IS COMING (1971)

A gritty, action-packed western from the ‘revisionist’ era, this movie is based on an ELMORE LEONARD novel. BURT LANCASTER plays Bob Valdez, a despised Mexican lawman pursued through desert and mountains by a rancher and his private army. At which point we – and the pursuers, to their cost – discover Valdez has wilderness skills honed scouting against the Apaches, and that he’s a one-man fighting and killing machine.

THE WESTERNER (1940)

WALTER BRENNAN won an Oscar playing 'JUDGE' ROY BEAN, likable one minute, treacherous and villainous the next. He's pursued by his friend/enemy GARY COOPER in a lyrical, folksy tale leavened with plenty of black humour. .

WESTERN UNION (1941)

Epic-scale production about the laying of the transcontinental telegraph line across the west. ROBERT YOUNG and RANDOLPH SCOTT vie for the same girl, while dealing with renegade whites and Indians. There’s top-notch location photography, script and performances, and strong period detail.

WINCHESTER 73 (1950)

JAMES STEWART believed switching to westerns rescued his film career. Formerly known as a likable light-touch actor in contemporary dramas and comedies, he toughened up his image considerably in this cracking adventure about men in obsessive pursuit of a ‘one-in-a-thousand Winchester.’ The first of a string of fine westerns Stewart made with director ANTHONY MANN, where the character Stewart portrayed was often motivated, sometimes neurotically, by revenge. Strong support from SHELLEY WINTERS and DAN DURYEA as a ‘laughing villain.’

As with my ESSENTIAL list, there were no ‘Spaghetti Westerns’ included here. Without wanting to sound too high-brow about it, I find them entertaining but lacking in depth. THE GOOD, THE BAD AND THE UGLY is the only one I considered. And again no recent westerns feature. My ESSENTIAL list featured none made after 1992, and the most recent one on this list was made in 1976! These are all from the ‘classic western’ period, which I would define as 1939 - 1976. I find it a bit depressing that modern film makers can’t seem to make a great western any more. I’d be delighted for some of them to prove me wrong!

As I said, these are just my opinions. Feel free to disagree – as long as we keep it civil!

REVIEW of THE LILY OF THE WEST by KATHLEEN MORRIS

 Kathleen Morris started her western writing career in tremendous style, winning the Peacemaker Award for best first novel with her debut ‘THE LILY OF THE WEST.’ Here’s my 4 Star review, which you can find on Amazon.co.uk and Goodreads:

Bold new view of a familiar tale

Kathleen Morris certainly ‘hit the ground running’ as a western novelist as her debut ‘Lily of the West’ won the Peacemaker Award for best first novel. ‘Lily’ is a refreshing new take on a familiar tale. ‘Big Nose’ Kate Elder normally only features as a supporting player in the story of Wyatt Earp and John Henry – ‘Doc’ – Holliday. Here she takes centre stage and we follow her life from long before she met either of these western legends to long after. Born in Hungary, Kate travels from Europe to Mexico to Iowa, then St. Louis and New Orleans. Tragedy and chance take her west, to the dusty plains of Kansas, Texas and finally Arizona. Here tension builds as the Earp Brothers and Holliday square up against the Clanton Gang, leading to their historic clashes in Tombstone. But as much tension arises from the curious triangle of Kate, ‘Doc’ and Wyatt Earp. Kate attempts to steer ‘Doc,’ the man she loves, away from what she sees as the malign influence of Earp, but the strange bond between the two men keeps luring Holliday back. I particularly liked the touching description of Kate and Doc’s final months together, after these mighty events have passed. Recommended.   

 

In the rest of this blog I’m not going to explore the historical life of Kate Elder – also known as Kate Harony. Kathleen Morris does that in her novel. I thought I’d have a brief look at how she’s been depicted in film.

 

The real KATE ELDER/ HORONY (1850-1940)

The story of WYATT EARP and his associates (most notably ‘DOC’ HOLLIDAY) have proved perennially fascinating for western movie makers. Most focus on Earp’s tenure in Tombstone, Arizona and the events surrounding the misnamed ‘Gunfight at the OK Corral.’ In reality the gunfight took place in a vacant lot behind the O.K. Corral, next to a boarding house and photography studio, not in the corral itself.

Wyatt Earp (1848- 1929)

In the endless list of Earp-related films, perceptions have shifted. Early depictions of Earp as portrayed by veteran western movie stars like HENRY FONDA, RANDOLPH SCOTT, BURT LANCASTER and JOEL McCREA were as the ultimate western lawman, honourable, incorruptible and driven by a keen sense of justice. Few film makers would depict him so nowadays. Even the most sympathetic recent takes on him, as in ‘Tombstone’ (1993) acknowledge him as a flawed individual. Other depictions, such as ‘Doc’ (1971) show us Earp as a ruthless, corrupt, self-serving killer. All of which, fascinatingly enough, reflect views of the real man held during his lifetime, when he was a controversial figure who starkly divided opinion.

‘Doc’ JOHN HENRY HOLLIDAY (1851-1887)

My favourite Earp movie is ‘My Darling Clementine’ (1946) directed by JOHN FORD. Ford cheerfully gets all his hard facts wrong, even the year of the OK Corral gunfight! However, in ‘print the legend’ vein he creates a masterly film, beautifully made. An unlikely piece of casting is VICTOR MATURE as Holliday. No Kate Elder features in the movie, although he is associated with two women – ‘good girl’ Clementine (CATHY DOWNS) and ‘bad girl’ Chihuahua (LINDA DARNELL) who is a sort of Mexican/Apache version of Kate.

Linda Darnell

In ‘Gunfight at the OK Corral’ (1957) Holliday is portrayed by KIRK DOUGLAS. There are various contenders for best on-screen Holliday but Douglas gets my vote. His Holliday is, like most screen depictions, more or less a ‘bad guy’ who is only persuaded to join the side of law and order by his unexpected friendship with Wyatt Earp. Douglas is tremendous as a tortured and self-destructive loner who can also be charming, cynically funny and charismatic.

Kate does appear in this movie. Hollywood broke away from its usual practice to have her depicted by an unglamorous actress – the excellent JO ANN FLEET. In this movie Doc and Kate’s tempestuous relationship plays out like an Old West version of ‘Who’s afraid of Virginia Woolf!’

‘Doc’ (1971) shifts the focus in having Holliday (played by STACY KEACH) as the central character. This provides a larger role for Kate, portrayed by a dowdy and bedraggled FAYE DUNAWAY in probably the most unglamorous role of her career. This film was very much one of the ‘revisionist’ westerns of the time, setting out to debunk western myths. But Stacy Keach complained that the script lost a lot of its subtlety and humour in the course of the production.

In ‘Tombstone’ (1993) Hungarian-born Kate is finally portrayed by another Eastern European – the Polish actress JOANNA PACULA – while VAL KILMER’s performance as ‘Doc’ won acclaim.

This pair have an easier relationship than the one depicted in ‘Wyatt Earp’ (1994) where Doc is portrayed by DENNIS QUADE. Kate is again portrayed by a European (although still not Hungarian) actress, ISABELLA ROSSELLINI.   

In the western/supernatural/horror TV series 'Wynonna Earp' (which I haven't seen) Kate, played by CHANTEL RILEY, is apparently reincarnated as a vampire!

Maybe it's time Kate was the centre of her own movie...

More reviews for THE LILY OF THE WEST: 

‘Superbly written.’

‘This book is filled with sumptuous language and an interesting cast of characters.’

‘Beautifully written, telling the story of a young girl, and her growing into a woman of the "wild west". If you love stories of triumph over tragedy, placed in an historical setting with an accuracy and a telling that will keep you turning each page to learn more... you will love this book.’

‘Kathleen Morris does a great job of filling in the gaps between well-known fact and probable fiction…. This great, award-winning story gives the reader a fresh and seldom told side about someone who was there as the American frontier came of age. A must-read for those whose interests include that era of American history.’

‘This is a wonderfully written book that could appeal to both women and men. I’m don’t typically read Westerns, but this book had so many great elements, that it kept my interest throughout the book.’

‘A fresh, thrilling, and insightful exploration of the often maligned or dismissed Mary Katherine Haroney as told by Kate herself.’

Find THE LILY OF THE WEST here:https://www.amazon.com/Lily-West-Kathleen-Morris-ebook/dp/B08DM4NKVC/ref=sr_1_1?crid=3FM8S5BJO8QNY&dchild=1&keywords=the+lily+of+the+west&qid=1600154374&s=books&sprefix=the+lily+of+the+west%2Cstripbooks-intl-ship%2C244&sr=1-1

Here: https://www.amazon.co.uk/Lily-West-Kathleen-Morris-ebook/dp/B08DM4NKVC/ref=sr_1_1?crid=2AY0Q8FEW66B1&dchild=1&keywords=the+lily+of+the+west+kathleen+morris&qid=1600154461&sprefix=the+lily+of+the+west%2Caps%2C169&sr=8-1

And here: https://www.goodreads.com/book/show/41757460-the-lily-of-the-west?ac=1&from_search=true&qid=e8slj3wra6&rank=1

25 ESSENTIAL WESTERN MOVIES

I’ve foolishly let myself be tempted into entering the ‘lists’ game. I’ve previously avoided them because of the negative reaction it can stir up among browsers who disagree with your choices. All I’ll say is: the opinions expressed are mine, if you disagree, fine, we can still respect each other and be civil to each other.

This is deliberately NOT a BEST OF list of films in order. I’d find that impossible to compile – how do you rate one complete masterpiece over another? If I tried that, I’m sure I’d end up disagreeing with myself an hour after this blog was posted, and wanting to change things. Nor is it a list of my PERSONAL FAVOURITES. I freely confess some of my favourite western movies aren’t classics, just films that never fail to entertain me – ‘THE COMANCHEROS’ (1961) for example.

I decided to try and compile a list of ESSENTIAL westerns, movies you just have to see to appreciate the western at its best, at its most ground-breaking, and touching the main western bases. Films featuring the key western actors and directors. A guide perhaps for someone new to the western, to help them ‘get’ them. I ended up with 25, but it isn’t exhaustive and I’ll doubtless think of some others I might also have listed. So some western movies regarded as ‘classics’ don’t feature – for example I think THE BIG COUNTRY (1960) THE OUTLAW JOSEY WALES (1976) SHE WORE A YELLOW RIBBON (1949) THE WESTERNER (1940) WESTERN UNION (1941) and WINCHESTER 73 (1950) are all very good/ great but not ground-breaking and therefore don’t make my essential list. However, I couldn't resist breaking my own rule about this once, as you will see...

I ended up supplementing this list with another list of some of those 'non-essential' westerns I refer to in the last paragraph. You can find that - 25 WESTERNS TO ENJOY - here:  https://andrewmcbrideauthor.blogspot.com/2020/12/25-western-movies-to-enjoy.html

Meanwhile, here’s my 25 essential westerns. And because I’m expressing my opinions throughout, I decided to forgo the use of phrases like ‘in my view’ or IMHO as I’d be repeating them endlessly. Films are listed in alphabetical order, not in any order of merit.

THE COWBOYS (1972)

Late in his career, JOHN WAYNE played a father figure to a bunch of children/young teenagers he is forced to use to complete a gruelling trail drive. What could have been a horribly sentimental exercise becomes a gripping experience by dint of a gritty, authentic script, strong location photography and above all outstanding acting. The supporting cast are first-rate, from an effective cameo by SLIM PICKENS to ROSCOE LEE BROWNE’s trail cook to BRUCE DERN who is tremendous as perhaps the ultimate western villain. Wayne meantime gives a towering performance, one many consider the best of his career. 

FORT APACHE (1948)

The most important team in the history of western movies was actor JOHN WAYNE and director JOHN FORD. This is part of the so-called ‘cavalry trilogy’ they made together, Although Wayne gets top billing, and is excellent in his role, the most fascinating and compelling performance is by HENRY FONDA as Colonel Thursday. Thursday is clearly a brilliant man and soldier, but his ferocious ambition, plus a contempt for his Apache enemies, drives him and the troops he leads to destruction. One of the earliest westerns to depict Native Americans sympathetically.

THE GUNFIGHTER (1950)

An early example of the so-called ‘psychological western,’ this movie is similar to ‘High Noon’ in that it depends on nail-biting tension rather than action as the clock ticks down to a deadly appointment between the lone hero (an outstanding GREGORY PECK) and his adversaries.

HOMBRE (1967)

Adapted from ELMORE LEONARD’s superb novel, this is another slow-burning western with PAUL NEWMAN as an outsider, a white man who prefers living with Apaches. But he becomes the unlikely defender of a small party of whites trapped in the desert by bandits. With dialogue terse enough to match the stark landscape and fine performances from the supporting cast – FREDERICK MARCH, MARTIN BALSAM, DIANE CILENTO in one of the best women’s roles in westerns, and RICHARD BOONE as a menacing villain.

JESSE JAMES (1939)

The two most famous outlaws in the Old West were BILLY THE KID and JESSE JAMES, so their lives have to be covered in any essential list.

This take on the career of the notorious JESSE JAMES treats him sympathetically. So it could be dismissed as a whitewash job – but, if so, it’s an extremely well made one. TYRONE POWER (as Jesse) leads an outstanding cast, also featuring HENRY FONDA (as FRANK JAMES) and RANDOLPH SCOTT.

THE LEFT HANDED GUN (1958)

The best take on the Old West's other most famous outlaw: BILLY THE KID. PAUL NEWMAN plays the doomed young outlaw in this brooding and atmospheric ‘psychological western.’ Billy wasn’t left handed, by the way!

LITTLE BIG MAN (1970)

The most notable film to depict the Indian Wars from the viewpoint of the Native Americans. It’s admittedly less subtle than the great THOMAS BERGER novel it’s adapted from, but manages to marry extremely funny moments with sections that are tragic and moving.

A MAN CALLED HORSE (1970)

An unusual western in that it’s about Native American life before they had much contact with the white man – represented here by their captive RICHARD HARRIS. Expanded from a short story by the great DOROTHY M. JOHNSON.

MY DARLING CLEMENTINE (1946)

The story of Wyatt Earp/ Doc Holliday and their doings in Tombstone have featured in countless western movies. JOHN FORD’s take on it is the best. He cheerfully gets his hard facts wrong, he even deliberately sets it in the wrong year, but the end result is marvellous, a lyrical celebration of the Old West not as it was, but as it should have been.

THE NAKED SPUR (1953)

Another strong director/actor team was the pairing of actor JAMES STEWART and director ANTHONY MANN, producing a string of fine 1950s westerns. ‘The Naked Spur’ is a gripping morality tale that takes places entirely outdoors in stunning Colorado/Rocky Mountain locations. Stewart leads a brilliant cast; I particularly liked ROBERT RYAN’s treacherous, laughing villain. 

THE OX-BOW INCIDENT (1943)

Almost an anti-western in that it’s dark, claustrophobic and mostly studio bound. A good example of the ‘intelligent’ western, it’s a searing indictment of vigilante ‘justice’, with very effective performances by HENRY FONDA, DANA ANDREWS and ANTHONY QUINN.

RED RIVER (1948)

The classic trail drive western. JOHN WAYNE bravely risks hardening his image in his warts-and-all portrait of a tyrannical trail boss, a man whose harsh regime causes his drovers to mutiny. The result gave his screen persona a realistic edge that made him a film superstar.

RIDE THE HIGH COUNTRY (1962)

Here old meets the new – two aging western legends, RANDOLPH SCOTT and JOEL MCREA, are directed by up-and-coming SAM PECKINPAH. Both leads give wonderful performances in this elegiac western, and McCrea gets to utter the classic line ‘All I want to do is enter my house justified.’

RIO BRAVO (1959)

'Rio Bravo' is not ground-breaking or innovative, so I broke my own rules including this movie here. I felt it had to claim a place on any 'essential' list, simply because it is so good; you won't find a better made western. My dictionary defines ‘quintessential’ as ‘purest and most perfect manifestation or embodiment’ and ‘Rio Bravo’ must be a contender for the ‘quintessential’ western. Sheriff JOHN WAYNE and a few allies are besieged in a town gaol by a small army of bad guys. Even though Wayne and company are all flawed heroes, they prevail through sheer guts and skill. A long and leisurely film, but director HOWARD HAWKS never lets up on tension. He wisely uses the time to flesh out the characters, ably played by Wayne, DEAN MARTIN, WALTER BRENNAN and – in one of the best roles for a woman in westerns – ANGIE DICKINSON. 

THE SEARCHERS (1956)

I wouldn’t rate this the best western ever made – as many do – not even the best JOHN WAYNE/ JOHN FORD collaboration. I think the film sags after an electrifying first hour or so. But it makes my list because of WINSTON C. HOCH’s stunning photography, capturing Fords favourite location – Monument Valley – and Wayne’s performance. Again showing a brutal side, he powers through the movie like a force of nature, as in his spell-binding ‘Turning of the Earth’ speech – which led director MARTIN SCORSESE to describe the character Wayne played as ‘a poet of hatred.’

SHANE (1953)

OK, I’ll get my reservation about this movie out of the way. While ALAN LADD’s performance is adequate, I think he was miscast, and Gregory Peck (in ‘The Gunfighter’ mode) would have been more convincing. But the other elements of the film are superb – from the location photography to the period detail to the expertly staged action scenes. Ladd gets first-class support, including JACK PALANCE as a particularly memorable villain.

THE SHOOTIST (1976)

JOHN WAYNE’s final film performance also marks for me the end of the classic western film era. Appropriately enough it’s also sombre and elegiac in tone and features fine acting from veteran stars. The scenes between Wayne and JAMES STEWART, and between Wayne and LAUREN BACALL, are particularly rewarding. 

STAGECOACH (1939)

‘Stagecoach’ is a rarity – a perfect film script, in this case by DUDLEY NICHOLS. I challenge anyone to find one dud line in the entire movie. Director JOHN FORD worked for the first time with two elements that would feature strongly in his subsequent westerns - JOHN WAYNE in his breakthrough role, and Monument Valley, the Utah/Arizona location that would become perhaps the most iconic landscape in western movies.

Dudley Nichols

THE TALL T (1957)

Another notable actor/director team was RANDOLPH SCOTT and BUD BOETTICHER. The best of their collaborations is this lean, taut adaption of an ELMORE LEONARD short story. One of the most enjoyable aspects is the interplay between the good guy – Scott – and the lead villain, RICHARD BOONE, excellent in the role. The only jarring aspect is the title, which doesn’t relate to anything in the movie!

3.10 TO YUMA (1957)

Like ‘The Tall T’ this movie is based on an ELMORE LEONARD short story, and focuses on the grudging respect that grows between an outlaw – GLENN FORD – and the rancher who holds him captive, a performance of quiet intensity by VAN HEFLIN. Another western that demonstrates tension can be more effective than action.

UNFORGIVEN (1992)

CLINT EASTWOOD had been a staple of western films  since his breakthrough to stardom in Spaghetti Westerns of the 60s. Here he directs himself in arguably his greatest western, as a grizzled former gun man who comes out of retirement to confront corrupt sheriff GENE HACKMAN.

VERA CRUZ (1954)

A Mexico-set western with a veteran western legend – GARY COOPER – up against a rising star – BURT LANCASTER. Lancaster gives a roistering performance playing against type as a ‘laughing’ villain in what one critic called ‘great outdoor entertainment.’ 

WAGON MASTER (1950)

JOHN FORD’s personal favourite of his own westerns is this low-key affair about Mormons travelling an arduous desert trail to their promised land. It’s low on action, or even incident. Ford instead presents a mood piece with the emphasis on atmosphere, character, a warm sense of community and what he called ‘grace notes.’ He eschewed using stars, letting some of the best western character actors – BEN JOHNSON, HARRY CAREY Jr. and WARD BOND – shine instead. A poem of a film, beautifully made.

THE WILD BUNCH (1969)

Part of the ‘revisionist’ western trend, SAM PECKINPAH’s second western masterpiece after ‘Ride the High Country’ was another end-of-the-west tale set in the early 20^th Century. Unable to survive in a changing America, a band of outlaws are driven south of the border into the savagery of the Mexican Revolution. Its stunning action sequences have been called ‘a ballet of violence.’

WILL PENNY (1967)

Westerns are routinely described as ‘cowboy movies’ but only a minority deal with the Spartan lives of real cowboys. CHARLTON HESTON plays an aging cow hand who finds hope of escape from his semi-monastic existence in a relationship with a settler woman – JOAN HACKETT in a marvellous performance – and her child. I like everything about this poignant tale except the last 5 minutes, which I would change!

ESSENTIAL MODERN WESTERNS:

BAD DAY AT BLACK ROCK (1954)

SPENCER TRACY arrives in an isolated western desert town in 1945 to find it’s hiding a very guilty secret. A masterpiece of tension and a feast of fine acting from character actors of the calibre of ROBERT RYAN and WALTER BRENNAN. Of Tracy’s majestic performance, ROBERT DUVALL said, ‘It doesn’t get any better than that.’

LONELY ARE THE BRAVE (1962)

KIRK DOUGLAS is superb in this moving fable of a lone cowboy trying to live an independent life in the 1960s. When he falls foul of the law, he ends up in a desperate flight to freedom, taking on the modern world with just his rifle, his horse and his wits.

ESSENTIAL TV WESTERN SERIES:

THE HIGH CHAPARRAL (1967-1971)

Unlike most TV Westerns, ‘The High Chaparral’ wasn’t filmed on the cheap and on sound stages and familiar Hollywood locations. It had the production values of a Hollywood movie and the location photography in Old Tucson, Arizona made it physically beautiful. This, plus gritty, authentic scripts (particularly in Seasons 1 and 2) and an excellent cast portraying flawed and complex characters – not the ‘strong, silent’ heroes of too many TV Westerns – made it the best of this genre.

ESSENTIAL MINI SERIES:

None (sorry ‘LONESOME DOVE’ fans!)

Reflecting on my completed list, I realised there were no ‘Spaghetti Westerns’ included. Without wanting to sound too high-brow about it, I find them entertaining but lacking in depth. I wasn’t surprised no westerns after 1992 feature. Films like ‘TOMBSTONE’ (1993) and ‘OPEN RANGE’ (2003) have their merits and plenty of admirers but for me, they don’t match the standard of the best westerns from the classic period, which I would define as 1939 - 1976. I find it a bit depressing that modern film makers can’t seem to make a great western any more. I’d be delighted for some of them to prove me wrong!

Monument Valley

Two omissions I noted were ‘HIGH NOON’ (1952) and ‘THE MAGNIFICENT SEVEN’ (1960.) I have to say that ‘HIGH NOON’ has never really grabbed me. As for ‘MAGNIFICENT SEVEN’ I find it entertaining, with a great score and good action scenes, but I’ve never shared the general feeling it’s a classic. But, as I said at the beginning, that’s just my opinion. Feel free to disagree!