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About CitySlicker

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  1. RE: *3:10 to Yuma* ... I think the fact that Ford's character is, at times, likeable, funny and nearly human gives the movie tremendous conflict. It's a staple of Elmore Leonard's writing, of course. And it does sort of remind us of the Boetticher-Kennedy-Scott vehicles where the villains (Lee Marvin, Claude Akins and Pernell Roberts) often get more screen time, more of the better lines, etc. than the hero, Scott. A likeable, personable bad guy gives the writing such depth. I absolutely loved *3:10 to Yuma* ever since I first watched it, and Heflin is one of those unlikely heroes, conflict
  2. CitySlicker


    I think the "end" of the gunfighter, or the large "cattle ranch" is obvious in most Westerns, including Shane. Civilization is coming to the West, in the form of more organized law enforcement, family farms, homesteaders, the decline of the Native American, etc. ... it's the evolution of the final frontier, so to speak. ... I think it often makes for great dialogue, but the idea is a common thread, from *Shane* to *Monte Walsh* to *Unforgiven.* Your time has passed, move aside ...And then the shootin' commences ...
  3. I never have thought of *The Big Country* as being underrated. Now, critics, that's another story. The NY Times review said: "It skims across standard complications and ends on a platitude." I've always thought it a great Western, with a big cast, a big story and a great score ... The hell with the NY Times, I say.
  4. I agree, Dargo ... *Nevada Smith* also has a great cast, led by McQueen. I think it was a good story, too, which sort of gets lost in today's epics. I also agree Malden was fantastic. Lots of terrible people, mixed in with some good intentions (*Suzanne Pleshette*'s character, for example) ... good pick!
  5. I'm a huge fan of Lee Marvin, whose range from lead to supporting actor was tremendous. Take a look [ http://www.tcm.com/tcmdb/title/17325/Spikes-Gang-The/|http://www.tcm.com/tcmdb/title/17325/Spikes-Gang-The/]
  6. Another fine list ... really like *Ramrod* and *Blood on the Moon.* Most interesting about the lists is the range of what viewers consider "underrated" movies. For example, I think of *The Professionals* as well received by critics and the public alike. At the same time, I view Peckinpah's *Pat Garrett and Billy The Kid* as sort of overlooked. Might this just be me? I imagine it's all about perception. ... *The Culpepper Cattle Co.*, is another excellent choice for "underrated." Any one remember Lee Marvin's *The Spikes Gang*? I thought this was pretty good, too. I'm going to take anoth
  7. Hard not to like Mitchum in a Western ... Both *Pursued* and *The Wonderful Country* are really good. ... I would like to see *The Wonderful Country* in a widescreen format.
  8. Virginia Mayo is SOOOOOO GOOD in *Colorado Territory*. Excellent list.
  9. Great lists ... love *Day of the Outlaw* and, of course, *The Professionals* is one of my favorites, so it's on one of my more big-time lists ... some great ones, though ... I'll throw in one, *Doc*, with Stacy Keach and Faye Dunaway ... a lot on the lines of *Dirty Little Billy*.
  10. So often, this genre is overlooked when it comes to awards or acclaim. I love most all Westerns, although I don't really appreciate the singin' cowboys or the true B Westerns, the serial types. But, in no particular order, here are my five most under-appreciated or "underrated" Westerns: 1) *Monte Walsh* (Lee Marvin, Jack Palance) 1970 ... a fading cowboy faces the final, fading days of the Old West. 2) *The Gunfighter* (Gregory Peck, Karl Malden, Helen Wescott) 1950 ... a gunslinger wants to quit his ways and rekindle his life with his wife and child but his past haunts him. 3) *Pat Gar
  11. No question the story lines of *Gunsmoke* and *Wagon Train* were more developed and geared toward an adult audience. I think I learned to appreciate them more when I was a bit older (although I always loved *Wagon Train*). *Gunsmoke* was 60 minutes after Year 2 or 3, I think, and *Wagon Train* often was 90 minutes. The half-hour format meant *The Rifleman* had to have a fast, fast pace ... But the acting was good, and the relationship between Crawford and Connors was truly excellent. Other than Opy and Andy on *The Andy Griffith Show*, I can't recall another father-son relationship on TV th
  12. What WONDERFUL television *The Rifleman* was. My father died when I was a tyke, and I could relate to Mark, the son, in a certain way. Lucas was, in many ways, a father figure. His high morals and the way he doted over his son bring a tear to my eye even today. Great, great TV. Tightly edited stories, great character actors (John Anderson, John Dehner, Peter Whitney) and superb supporting cast. Paul Fix as Micah was a treasure ... boy, great memories of a great show.
  13. LOVED Joanne Dru ... great looker and a good actress. She was TERRIFIC in Westerns (Red River, She Wore a Yellow Ribbon) but I also thought she was great in All The Kings Men ... Her brother was PETER MARSHALL of Hollywood Squares fame. And this is a decent Western, too, I would agree.
  14. LOVED Joanne Dru ... great looker and a good actress. She was TERRIFIC in Westerns (Red River, She Wore a Yellow Ribbon) but I also thought she was great in All The Kings Men ... Her brother was PETER MARSHALL of Hollywood Squares fame. And this is a decent Western, too, I would agree.
  15. Agreed, Fred. ... In fact, I think this is an excellent Western, showing some real grit and realism, well before they were accepted in Westerns. The scene where Strother Martin dies from the snake bite and the cowboys are just waiting for him to die is eerie. Also, the layer of mean that Lemmon grows because of his experience speaks volumes. Some might say it's not possible, but I think it works, and I love both Lemmon and Ford. Great supporting cast, too. Beside Donlevy, there's Richard Jaeckel, another fine character actor. Overall, a fine, fine Western.
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