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Big heavyweight movie all round. Directed by Howard Hawks and starring John Wayne & Robert Mitchum, it's safe to say that El Dorado comes with some pretty tough credentials. Thankfully the expectation that comes with such a teaming is well and truly met. The plot is a familiar one in the context of Wayne & Hawks, if you have seen Rio Bravo? And liked it? The chances are you will like this one too. Wayne is Cole Thornton, a hired gun who is asked to come on the payroll of El Dorado landowner Bart Jason (Ed Asner), who is involved with a land struggle with the MacDonald family. Cole finds his old friend J.P. Harrah (Mitchum) is sheriff of the town, and J.P. advises his old pal that any involvement with Jason will result in J.P. enforcing the law. As it transpires, circumstances between the MacDonald's and Cole lead to Cole taking arms against Jason and his thug followers. So the sheriff, an old Indian fighter called Bull Harris (Arthur Hunnicutt) & a young gambler, who's handy with a knife, called Alan Bourdillion 'Mississippi' Traherne (James Caan) aim to bring down the might of Jason together. Adapted from the book The Stars in Their Courses by Harry Brown, this was the second to last film that Howard Hawks would direct. Coming as it did in the late 60s it appears to be somewhat undervalued on the great director's CV. Probably due in no small part to the regard that Rio Bravo is held, of which this is pretty much a remake of. Yet, and I whisper it quietly, El Dorado is arguably the better film in terms of performances and the telling of Hawksian themes. Given that Wayne & Mitchum were good friends away from the screen, it's no great surprise to find the chemistry between them is top dollar. They feed of each others' machismo to deliver a tough picture, yet one that's still joyously fun. The end result is a pic that manages to deftly portray many themes, that of loyalty, togetherness, forgiveness, respect and professionalism. The two principal stars are aided by both Caan and Hunnicutt, who offer a notable young & old side of the mythical West, with age, and ageing, a prominent point of note played out by the knowing director. El Dorado looks to be a film where all involved are comfortable in what they are making. Nothing feels forced or hindered by pointless filler. It's true that the film is more in favour of dialogue over bravado action, though what action there is is adroitly handled by the old hands and the youthful Caan with his sawn off shotgun. This is a story without gimmicks, one which isn't ambling along as an excuse for a shoot out come the end. There's a lot to be said for good old fashioned story telling, and we get that here. Intelligence and sincerity throughout, and it's damn funny to boot, El Dorado is a fine movie that holds up very well in each and every decade that passes. 8/10
Definitely one of Howard Hawks' better collaborations with John Wayne. A reasonably strong story about a rancher and his family trying to defy an avaricious and violent Ed Asner ("Bart Jason") who is trying to take over everything he can. There are similarities with "Rio Bravo" (1959) but I think here there is more tangible chemistry between Wayne ("Thornton") and Robert Mitchum as the washed-up drunk of a sheriff (“JP Harrah"). James Caan brings some cheeky charm to his role as the shotgun-toting and poetry-spouting "Mississippi" and Arthur Hunnicutt takes on the reliable foil role (often played by Walter Brennan) entertainingly as "Bull" - complete with his bullet-dented bugle. As ever with these films, the leading ladies have virtually nothing to work with and this, for Charlene Holt ("Maudie"), is no exception. It features plenty of set-piece action scenes with both stars working well together and Caan adding a little mischief, too. Great fun.
The citizens and near-by ranchers of a western town are being besieged by a gang of rustlers and robbers, and a plea is made to the governor to send a troop of rangers. Shortly, thereafter a dude-costumed cowboy shows up but he only asks a lot of dumb questions and does a lot of stick-whittling as he wanders the streets and hangs out in the saloon with the regular barflies. The citizens mark him down as being 'tetched in the head.' Also, shortly after the whittler arrives, a mysterious black-masked rider begins to make life a bit tougher on them than it had been.
Reverend Julian Shay (Willie Nelson) strode into the saloon, pulled out his six-shooter, and killed his adulterous wife (Morgan Fairchild) and the man she had left him for. It was the beginning of his violent transformation from God-Loving preacher to ruthless outlaw.
Forced to run from Texas Rangers after a heated misunderstanding leads to the death of a lawman, Mexican American farmer Gregorio Cortez sets off in desperate flight, evading a massive manhunt on horseback for days. Preserved by the Academy Film Archive in partnership with the National Endowment for the Arts in 2016.
Billy joins an outlaw band led by woman to clear his name of their crimes, which are being blamed on him.
William Munny is a retired, once-ruthless killer turned gentle widower and hog farmer. To help support his two motherless children, he accepts one last bounty-hunter mission to find the men who brutalized a prostitute. Joined by his former partner and a cocky greenhorn, he takes on a corrupt sheriff.
A fatally wounded white man is found by an outcast Native American who prepares him for the afterlife.
Wealthy rancher Bick Benedict and dirt-poor cowboy Jett Rink both woo Leslie Lynnton, a beautiful young woman from Maryland who is new to Texas. She marries Benedict, but she is shocked by the racial bigotry of the White Texans against the local people of Mexican descent. Rink discovers oil on a small plot of land, and while he uses his vast, new wealth to buy all the land surrounding the Benedict ranch, the Benedict's disagreement over prejudice fuels conflict that runs across generations.
Jim Killian arrives in a small Arizona town hoping to establish a peaceful life as the local preacher, but he soon finds himself in the middle of a feud between sheep ranchers and cattlemen. Leloopa, a young Native American woman, pleads for Killian's help after her shepherd father is hung by Coke Beck, the vicious son of the head cattle rancher. Killian must weigh his actions carefully lest he perpetuate the cycle of retribution and revenge.
While crossing the desert, a frontier scout, Jess Remsberg, rescues Ellen Grange from a pursuing band of Apaches, and returns her to her husband, Willard Grange. He is contracted to act as a scout for an Army cavalry unit. Willard, Ellen, and her infant son are along for the ride, as is horse trader Toller, a veteran of the 10th Cavalry. The party is trapped in a canyon by Chata, an Apache chief and grandfather of Ellen's baby. Willard is captured and tortured. Jess sneaks away and brings reinforcements just in time to save the day. Jess learns that the man he has been hunting is none other than Willard Grange.
A cowboy rides into a small town that is ruled with an iron fist by a corrupt sheriff. He becomes involved with a pretty young town girl and some residents who are trying to oust the sheriff, resulting in a robbery, a murder and his being pursued by a vengeful posse.
Outlaws attempting to kidnap Steve Blaine from a stagecoach are ran off by the sharpshooting of his sister, Sally and rescuers Jimmy Wakely and Cannonball Taylor. Steve is investigating his father's sudden death after charges of theft from the Sloan/Carson mine. Sloan is killed after Wakely learns that ore is being smuggled across the Mexican border into the mine, and then sold at the higher U.S. prices