"All they wanted was their chance to be men... and he gave it to them."
When his cattlemen abandon him for the gold fields, rancher Wil Andersen is forced to take on a collection of young boys as his cowboys in order to get his herd to market in time to avoid financial disaster. The boys learn to do a man's job under Andersen's tutelage, however, neither he nor the boys know that a gang of cattle thieves is stalking them.
John Wayne
Wil Andersen
Roscoe Lee Browne
Jebediah Nightlinger
Bruce Dern
Long Hair
Colleen Dewhurst
Kate
Alfred Barker Jr.
Cowboy Fats
Nicolas Beauvy
Cowboy Dan
Steve Benedict
Cowboy Steve
Robert Carradine
Cowboy Slim Honeycutt
Norman Howell
Cowboy Weedy
When his cattlemen abandon him for the gold fields, rancher Wil Andersen is forced to take on a collection of young boys as his cowboys in order to get his herd to market in time to avoid financial disaster. The boys learn to do a man's job under Andersen's tutelage, however, neither he nor the boys know that a gang of cattle thieves is stalking them.
The Breaking of Boys and the Making of Men. The Cowboys is directed by Mark Rydell and adapted from the novel written by William Dale Jennings; who co-writes the screenplay with Irving Ravetch & Harriet Frank Jr. It stars John Wayne, Roscoe Lee Browne, Bruce Dern and Colleen Dewhurst. John Williams scores the music and Robert Surtees is the cinematographer. Plot sees Wayne as tough cattleman Wil Andersen, who after finding all his cowhands have fled to find their fortune elsewhere, is forced to use a bunch of green teenagers to get his beef to market. It's a journey of some distinction, for Wil, the boys and the villains who lurk on the edges of the frame. If ever there was a John Wayne picture that was in need of serious critical reevaluation, both as a measure of his acting ability-and quality in film narrative, then The Cowboys is the one. It's a film that has been known to upset the liberal minded, where the ideology at its core has been lambasted as being objectionable in the least. Yet looking at it closely, away from the humour that does exist within, it finds the Duke at his most vulnerable, therefore believable, and at its centre it's a coming of age tale told with cynical coldness. During this cattle drive innocence will be lost, Andersen is tough and a disciplinarian, yet he's always a benevolent father figure. Wil himself hit the cattle drive trail at 13, he knows the pains and perils of such a task. He also knows that boys need to become men, especially out here in the wilderness. I'd be disappointed in a piece of Western genre cinema if it glossed over this fact. And The Cowboys doesn't, it has a sting in its tail, the trick is that the boys are not judged by how Wil taught them, but defined by a turn of events that calls on them to "man" up. The actions of another being the catalyst for childhood's ending. Robert Surtees' photography paints a beautiful picture, it's pastoral, broad and appealing, but crucially it doesn't make it poetic. These young lads are entering the unknown, each section of God's great land is beautiful to us, but dangerous to them. It's an overlooked point that critics of the film ignore, that of Wil Andersen not leading these boys on a romantic trip thru the colourful terrain. It's not romantic, it's dangerous, and it's credit to Surtees that he achieves both sides of the coin; beauty and peril in the same frame. The young actors are, expectedly, a mixed bunch, but there's nothing here to be overtly negative about. Roscoe Lee Browne is terrific, his shift from wry observationalist to "Mother Hen" is handled with great skill, and Bruce Dern is memorable in more ways than one. The complaints come from not enough screen time for Colleen Dewhurst, who playing a bordello madame positively threatens to send the film's rating thru the roof (and the male viewers temperature's), while the running time is simply too long-too episodic-and quite frankly, unnecessary. The Cowboys is not a perceived John Wayne macho based fantasy movie, it has meaning, depth, bravery and a first class performance from the Duke himself. 8/10
“Anderson” (John Wayne) is left short-handed by a gold rush and with his herd to get to market has to resort to engaging the services of a class of school boys who are offered $50 each if they help out. None of those lads are much over fifteen and few have any experience wrangling, so it’s going to be a tough challenge. Fortunately the veteran “Nightlinger” (Roscoe Lee Brown) happens by and agrees to bring along his wagon to help play nursemaid - and off they go. What they don’t appreciate, though, is that a group of would-be rustlers are in pursuit of their cows and when they discover the team doing the work are barely out of diapers, they become emboldened and set about stealing the cattle. The question is: can this motley and inexperienced team fend off the maniacal “Long Hair” (Bruce Dern) and his mercenaries? On the face of it, this could have been a disaster - but the chemistry between Wayne and Browne is a little reminiscent of his with Walter Brennan and helps steer this along quite entertainingly with decent efforts too from the lads doing the work. Interestingly, there is no sign of a Mitchum or a Wayne Jr amidst the cast of youngsters, but Nicolas Beauvy does well as do the rest as their trail turns from one of profit to one of revenge. It’s sentiment-free action film with a message of self-reliance and independence underpinned by a tough-love style of humanity that Wayne delivers well as “Anderson” faces one of his more menacingly played foes from an on-form Dern. Don’t be put off by the billing, it’s quite a tough drama and worth a watch.
Hud Bannon is a ruthless young man who tarnishes everything and everyone he touches. Hud represents the perfect embodiment of alienated youth, out for kicks with no regard for the consequences. There is bitter conflict between the callous Hud and his stern and highly principled father, Homer. Hud's nephew Lon admires Hud's cheating ways, though he soon becomes too aware of Hud's reckless amorality to bear him anymore. In the world of the takers and the taken, Hud is a winner. He's a cheat, but, he explains, "I always say the law was meant to be interpreted in a lenient manner."
A Texan traveling across the wild West bringing the news of the world to local townspeople, agrees to help rescue a young girl who was kidnapped.
In this strange western version of Moby Dick, Wild Bill Hickok hunts a white buffalo he has seen in a dream. Hickok moves through a variety of uniquely authentic western locations - dim, filthy, makeshift taverns; freezing, slaughterhouse-like frontier towns and beautifully desolate high country - before improbably teaming up with a young Crazy Horse to pursue the creature.
In a modern cow town, the powerful ranch owner’s henchmen kill a ranch hand, prompting the sheriff to investigate despite facing strong opposition. He finds an unlikely ally in the rancher's overprotected daughter, but their quest for justice puts them both in danger.
In the mid-19th century, Senator William J. Tadlock leads a group of settlers overland in a quest to start a new settlement in the Western US. Tadlock is a highly principled and demanding taskmaster who is as hard on himself as he is on those who have joined his wagon train. He clashes with one of the new settlers, Lije Evans, who doesn't quite appreciate Tadlock's ways. Along the way, the families must face death and heartbreak and a sampling of frontier justice when one of them accidentally kills a young Indian boy.
Wounded Civil War soldier John Dunbar tries to commit suicide—and becomes a hero instead. As a reward, he's assigned to his dream post, a remote junction on the Western frontier, and soon makes unlikely friends with the local Sioux tribe.
A young boy draws on the inspiration of legendary western characters to find the strength to fight an evil land baron in the old west who wants to steal his family's farm and destroy their idyllic community. When Daniel Hackett sees his father Jonas gravely wounded by the villainous Stiles, his first urge is for his family to flee the danger, and give up their life on a farm which Daniel has come to despise anyway. Going alone to a lake to try to decide what to do, he falls asleep on a boat and wakes to find himself in the wild west, in the company of such "tall tale" legends as Pecos Bill, Paul Bunyan, John Henry and Calamity Jane. Together, they battle the same villains Daniel is facing in his "real" world, ending with a heroic confrontation in which the boy stands up to Stiles and his henchmen, and rallies his neighbors to fight back against land grabbers who want to destroy their town.
Cole Thornton, a gunfighter for hire, joins forces with an old friend, Sheriff J.P. Harrah. Together with a fighter and a gambler, they help a rancher and his family fight a rival rancher that is trying to steal their water.
Four unwitting heroes cross paths on their journey to the sleepy town of Silverado. Little do they know the town where their family and friends reside has been taken over by a corrupt sheriff and a murderous posse. It's up to the sharp-shooting foursome to save the day, but first they have to break each other out of jail, and learn who their real friends are.
Ross Bodine and Frank Post are cowhands on Walt Buckman's R-Bar-R ranch. Bodine is older and broods a bit about how he will get along when he's too old to cowboy. Post is young and rambunctious and ambitious for a better life than wrangling cows. When one of their fellow cowboys is killed in a corral accident, Post suggests a way into a better life for himself and his friend: robbing a bank. Bodine reluctantly joins in the plan and the two contrive to rob the local bank. They make good their escape initially, but Walt Buckman and his two sons, John and Paul, are incensed at this betrayal by their own trusted employees. John and Paul set out to bring Bodine and Post to justice.