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You follow him and I'll hunt you down and kill yah. Big Jake is directed by George Sherman and written by Harry and Rita Fink. It stars John Wayne, Richard Boone, Patrick Wayne, Christopher Mitchum and Maureen O'Hara. Elmer Berstein scores the music and William H. Clothier is the cinematographer. It's shot in Panavision and Technicolor with the principal location for the shoot being Durango in Mexico. Plot finds Duke Wayne as tough old rancher/gunfighter Jake McCandles, who is estranged from his family and spends his days roaming the west with his trusty dog. However, when the McCandles family ranch is raided by a gang of outlaws led by John Fain (Boone), and Jake's grandson Little Jake is kidnapped for ransom, Big Jake gets the call from his separated wife Martha (O'Hara) to go find the boy. Which he sets off to do, with two of his sons in tow. There were many critics who felt John Wayne should have stopped making movies before the 1970's arrived. Which is a bit ignorant considering he would bow out with the heartfelt and poignant The Shootist in 1976. It's undeniable that of the ten 1970's film's he made before his death, half of them are disposable at best, Big Jake isn't one of them. Yes, the formula is hardly new, only here the blood quota is considerably higher than previous Duke Wayne outings, and yes, tonally the film is a bit too up and down for its own good. But it's a film that finds old hands Wayne and Boone turning in good shows and the action and thematic camaraderie on show more than compensates for the looming cloud of same old same old. Of worth, too, is the time setting of the story, coming as it does towards the back end of the Old West, we get to see many examples of the Wild West being tamed. Be it the railroad, or motor driven vehicle's, our protagonist and antagonist are old school characters framed by a changing West. This is where it pays to have Wayne and Boone in the main roles, turning it in in an old school, knowing, style. The names Clothier and Bernstein are synonymous with the Western genre, and they don't disappoint here, both the photography and score treat the eyes and the ears. And although not in it for very long, O'Hara adds a touch of class in what was the last of the five times she appeared on film with her friend Duke Wayne. In amongst the violence there's also plenty of fun, some intended courtesy of banter between Duke and his estranged sons, some not intended; such as watching the dog out act the siblings of Duke and Robert Mitchum! But all told, if you don't expect The Searchers or Hondo et all, then this holds up as a good way to spend an afternoon. 7/10 Footnote: I wonder if John Carpenter watched and enjoyed this film so much he cribbed a reoccurring joke from it for Escape from New York? Big Jake keeps coming up against people who say that they thought he was dead, same thing happens to Snake Plissken in Carpenter's picture. A homage I'm sure.
This is probably the most violent of Wayne's westerns depicting a tale of an estranged husband who returns home after his grandson is taken hostage by a ruthless gang of kidnappers. This well paced thoughtful drama takes us on the journey as he - with his two sons and an almost unrecognisable Bruce Cabot set off to rescue the boy. Richard Boone is outstanding as the evil leader of the kidnappers; he really does exude a sense of threat. The production does let this down a bit, though - the music is intrusive and the look and feel makes me wonder if it was shot on tape, rather than film and the colours and light don't look so hot. It's still a good, exciting watch with some touches of humour and a very much on-form star.
In this western, fake settlers make themselves at home on an ex-ranger's ranch and drive him away. A shady newspaper publisher and a gambler then conspire to take over the land. Fortunately, another ranger endeavors to help his pal. Enlisting the aide of his fellow rangers, they get oust the homesteaders. The publisher and the gambler shoot each other and the retired ranger gets his ranch back.
Sandy Doyle, gambler and political chief of a small border town, seeks to gain control of the Bar-X Ranch, owned by Rufe Rickson, to further some undercover activities of his own. He counts on Rickson's inability to stay away from gambling as the means to his ultimate success. Government investigator Oliver Shea and his assistant, Dan Haggerty, start a fight in Doyle's place when they see Rickson being cheated and are invited to the Bar-X where Oliver and Helen Rickson, Rufe's daughter, discover interest in each other and Dan finds himself pursued by Bell, the ranch cook. Sheriff Larson brings the prize money for the $5,000 race of the Rodeo Association, and that night it is stolen.
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.
The Durango Kid is a sort of Robin Hood of the West who helps the lovely Walters (who replaced Starrett's usual love-interest, Iris Meredith), the daughter of a homesteader, defeat the evil MacDonald who has been terrorizing the decent citizens with his gang of rustlers.
The brother (House Peters Jr.) of rancher Bill Martin (Bill Elliott) is killed in a stampede started by cattleman. Bill returns to the Fargo country to take his brother's place and is welcomed by law-abiding cattleman MacKenzie (Jack Ingram)) and his daughter Kathy (Phyllis Coates). The leader of the ruthless cattle interests are townsman Austin (Arthur Space) and his henchmen Red (Myron Healey), Link (Robert J. Wilke) and Albord (Terry Frost). Bill has the idea of putting up barbed wire to keep the herds from been driven over the land cultivated by the farmers. He, aided by Tad Sloan (Fuzzy Knight), produces the wire by make-shift methods, but it proves effective. The cattleman charge in court that the wire is dangerous to their herds but lose the case. Austin orders his men to seize Bill, bale him in strands of the wire, and throw him on the stage of the town hall during a fall festival. Bill doesn't take kindly to this and it precipitates open war.
An aging group of outlaws look for one last big score as the "traditional" American West is disappearing around them.
A small-town sheriff in the American West enlists the help of a disabled man, a drunk, and a young gunfighter in his efforts to hold in jail the brother of the local bad guy.
Gene goes after the badguys after they kidnap the baby he should have been babysitting.
A rancher comes home and finds that his son has been murdered and his daughter kidnapped by a bandit gang. He hires a professional tracker with a reputation for finding his quarry to help him find the gang and rescue his daughter.
A crusty old rancher hires three young women to pose as his daughters. However, the real father of one of the daughters finds out about it, and kidnaps her to hold her for ransom-which the rancher can't pay.