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We all have our ghosts, Marshal. Hang 'Em High is directed by ted Post and written by Leonard Freeman and Mel Goldberg. It stars Clint Eastwood, Inger Stevens, Pat Hingle, Ed Begley, Ben Johnson, Charles McGraw, Ruth White and Bruce Dern. Music is by Dominic Frontiere and cinematography is shared by Richard H. Kline and Leonard J. South. An innocent man survives a lynching and returns as a lawman and sets about bringing the vigilantes to justice. After making a name in Leone's Dollars Trilogy, Eastwood returned to America and began cementing his name in the genre of film that would come to define him. Though very much an American Western, this does have Spaghetti Western tonal splinters. Story is derivative and safe, however the characterisations are not and are pungent enough to warrant viewing investment. Unfortunately director Ted Post often lets the pace sag to unbearable levels - especially in the last third of film, it's a shame that the mooted Robert Aldrich didn't get the gig. There simply is not enough on the page to sustain the near two hour running time, with the finale proving to be a rather flat experience. The liberal stance on the death penalty is a touch heavy handed, but not so as to kill the picture since the thought process of the complexities of justice holds high interest values. Then of course there is Eastwood to lure one in. He's not the best actor in the film, though the amorality of character he plays makes him the fascinating centre piece. Hingle steals the acting honours as the stoically forthright Judge Fenton, while Stevens also shines as Rachael Warren, a character who like Eastwood's Jed Cooper has an obsessional motive for capturing criminals in her heart. All told the perfs across the board are pitched right and good value. I'm not sure if the fact two cinematographers were used was a job for mates scenario? Whatever though, for there's nice work here, the New Mexico locations pleasing and at the same time mood compliant for the harsher edges of the story. Frontiers's music is interesting, full of ebullience - sometimes overbearing, it strangely at times sounds familiar to some of Herrmann's compositions in the fantasy genre... Hang 'Em High is an important entry in the Western genre library, though neither great or bad, it's still a must see for genre enthusiasts. 7/10
'Hang ’em High' is entertaining stuff. I personally think the first half is much stronger than the second half, which loses its way a tad and ends up concluding in a perfectly good but not as great way as what I had wanted - based on the impressive opening hour or so. Clint Eastwood, though, is excellent from start-to-finish. I undoubtedly enjoyed his performance, which is great to see follow on from the major highs of the Dollars trilogy. Pat Hingle is also a positive performer, he and Eastwood share one terrific scene in particular.
When "Cooper" (Clint Eastwood) gets caught up in a case of mistaken identity, he is all but lynched by a group of citizens convinced he has committed murder. Luckily for him, he is snatched from the jaws of death by deputy "Bliss" (Ben Johnson) who takes him in for a more legitimate hanging. Fortune continues to shine on "Cooper" though, when local judge "Fenton" (Pat Hingle) finds his story checks out and offers him a job with a badge of his own. This isn't to take the law into his own hands - he is expected to bring the men who tried to kill him in for due process. He might be willing enough, but are they? Meantime, he finds that his rekindled law-man occupation sees him involved in other dangerous business, and after one especially close near-miss, he finds himself falling for the nagging "Rachel" (Inger Stevens) who has her own fairly harrowing story to relate. On the face of it, this is just another routine revenge western, but Eastwood and Hingle deliver a bit more than that as they try to apply some elements of the rule of law to a society that is still pretty much living a survival of the fittest (or fastest) existence. We get to know a little more of some of the vigilantes and realise that perhaps they weren't quite as brutal as initially thought - some attempt is made to give the characters some personality. The production isn't the best though - I'm sure I saw a car in shot at one point, and the studio sets are all very familiar, but Eastwood imbues his persona with a degree of his less-is-more style of decency as we head to a denouement that's predicable in outcome, but not so much in execution.
A court-martialed general rallies together 1200 inmates to rise against the system that put him away.
In 1943, as Hitler continues to wage war across Europe, a group of college students mount an underground resistance movement in Munich. Dedicated expressly to the downfall of the monolithic Third Reich war machine, they call themselves the White Rose. One of its few female members, Sophie Scholl is captured during a dangerous mission to distribute pamphlets on campus with her brother Hans. Unwavering in her convictions and loyalty to the White Rose, her cross-examination by the Gestapo quickly escalates into a searing test of wills as Scholl delivers a passionate call to freedom and personal responsibility.
Recently released from a mental hospital, Ricky ties up Marina, a film star he once had sex with and keeps her hostage.
A grief-stricken cantor in a crisis of faith finds his world turned upside down when his grade school music teacher re-enters his life as his new adult Bat Mitzvah student. The two forlorn souls develop a special connection.
Set against Paris' oldest bridge, the Pont Neuf, while it was closed for repairs, this film is a love story between two young vagrants: Alex, a would be circus performer addicted to alcohol and sedatives and Michele, a painter driven to a life on the streets because of a failed relationship and an affliction which is slowly turning her blind.
When the daughter of the miserly cooper Grandet is up for marriage, both families Des Grassins and Cruchot want to marry their sons to her and her substantial dowry. But the girl shows more interest in the impoverished cousin, whom she entrusts her entire fortune to.
Cattle baron John Chisum joins forces with Billy the Kid and Pat Garrett to fight the Lincoln County Land War in the New Mexico Territory of 1878.
A band of murderous cowboys has imposed a reign of terror on the town of Warlock. With the sheriff humiliatingly run out of town, the residents hire the services of Clay Blaisedell as de facto town marshal. He arrives along with his friend, Tom Morgan, and sets about restoring law and order on his own terms whilst also overseeing the establishment of a gambling house and saloon.
A young girl whose father is an ex-convict and whose mother is a junkie finds it difficult to conform and tries to find comfort in a quirky combination of Elvis and the punk scene.
Chicago hotel clerk Frank Harris dreams of life as a cowboy, and he gets his chance when, jilted by the father of the woman he loves, he joins Tom Reece and his cattle-driving outfit. Soon, though, the tenderfoot finds out life on the range is neither what he expected nor what he's been looking for...
The young, pretty and shy Angela Duvall is jailed for murder in some Latin American country. In the prison she gets brutally "initiated" by the other inmates. The nice, honest and handsome prison doctor believe she's innocent and tries to help her out.