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The Repair Shop on the Road - (Feb 20th)
The Kelly Clarkson Show - (Feb 20th)
NCIS- Sydney - (Feb 20th)
Dimension 20 - (Feb 20th)
The Nature of Things - (Feb 20th)
Family Feud Canada - (Feb 20th)
The 11th Hour with Stephanie Ruhle - (Feb 20th)
Green Eyed Killers - (Feb 20th)
On Cinema - (Feb 20th)
Tyler Perrys Sistas - (Feb 20th)
Conspirators - (Feb 20th)
The Chase - (Feb 20th)
Vince - (Feb 20th)
Gogglebox Australia - (Feb 20th)
The Chase Australia - (Feb 20th)
Australia on Fire- Climate Emergency - (Feb 20th)
The Family Business- New Orleans - (Feb 20th)
Ozark Law - (Feb 20th)
Dateline- Secrets Uncovered - (Feb 20th)
The Chief - (Feb 20th)
Quirks, Quandaries and Quicksand. The Hallelujah Trail is directed by John Sturges and adapted to screenplay by John Gay from the novel written by Bill Gulick. It stars Burt Lancaster, Lee Remick, Jim Hutton, Pamela Tiffin, Brian Keith, John Anderson, Martin Landau and Donald Pleasence. Music is by Elmer Bernstein and cinematography by Robert Surtees. Depending on who you talk to about The Hallelujah Trail, it will either be called an ass numbing bore or a misunderstood gem, such is the reputation of it, it kinda demands to be seen so as to evaluate why so divisive. It flopped on release and was savaged by critics, while it was a tough production from the off, one that badly over ran and was expensive to film. Cast members not getting on, bad weather, bad location provisions for cast, and the awful death of stuntman Bill Williams during one particular scene. Add in that lead man Lancaster looks bored - working at a time that he called his slavery period - then it felt doomed at an early stage. Its failure has been contributed to a number of things, such as timing (comedy Western, and an epic one at that, too early? too late?) but really it's takes too many bites of the pie, rendering the whole as something resembling a garbled mess. The thin plot is stretched unbearably to fifteen minutes shy of three hours, thrusting a number of character groups to trudge around with a screenplay that ironically - given the temperance/alcoholic basis of story - feels like it was written by an inebriate. Yet I personally would be a born liar if I said there wasn't a lot to like in the mix. Filmed not just in Technicolor and Panavision, but Ultra Panavision 70 no less! Pic looks terrific, with Surtees bringing the Gallup locales to vivid life, and Bernstein provides another technical highlight with his rambunctious score, big bold brass and percussion thunders around the settings. Some of the comedy works, when the cast get chance to come alive, and even though some aspects no doubt give the PC brigade kittens, the likes of Martin Landau as an Indian called Chief Walks-Stooped-Over are a joy. While for the red blooded among us, the huge running time at least allows for plenty of the positively yummy Remick... So it's a tough call, I think its harsh to call it a bore, yet it's awfully messy. So with that I sit on the fence, where just one of my butt cheeks gets numb... 5/10
Jim Harvey is hired to guard a small wagon train as it makes its way west. The train is attacked by Indians and Harvey, hoping to persuade Aguila, the chief, to call off the attack due to Harvey's having saved his son's life, leaves the train to negotiate. He is captured and the rest of the train is wiped out except for two sisters. Escaping and showing up in town later, Harvey is nearly hanged as a deserter, but gets away. Eventually caught by the sheriff and his posse, they are attacked by Indians. This time the Indians are defeated and Aguila, captured and dying, reveals the identity of the white man who engineered the initial attack on the wagon train, just as the perpetrator rides up behind them.
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 white man trades with the Comanche for the release of a female stranger and the pair cross paths with three outlaws who have their eyes on the handsome reward for bringing her home and Comanche on the warpath.
As a Civil War veteran spends years searching for a young niece captured by Indians, his motivation becomes increasingly questionable.
In the latter half of the 19th century, gold is discovered in the Black Hills, sacred land of the Lakota people. Gold diggers, profiteers and adventurers flock to the region. Among them is the hard-hearted land speculator Bludgeon, who tries to expel the Lakota using brutal methods. Lakota warriors retaliate, and soon the gold diggers' town becomes a battlefield.
The construction of the Great Western Railroad creates heavy conflict between the railway company and neighboring Indian tribes. Worse, criminal gang leader Santer sets his eyes on a gold mine located on holy Indian land and influences the construction supervisor to re-rout the planned railroad straight through Apache land. Old Shatterhand, who works as a measurement technician, discovers the evil plan and searches contact with the Apaches in an effort to avert war.
Forester, a ruthless oil baron, wants to create a war between the native American tribes and the white men. Old Shatterhand, Winnetou and their sidekick Castlepool try to prevent this.
Not having heard that war has erupted between the U.S. and Mexico, a wagon train heads west, only to find itself threatened by the Mexicans who have teamed up with hostile Indians.
In Apache territory, a supply Army column heads for the next fort, an ex-scout searches for the killer of his Native wife, and a housewife abandons her husband to rejoin her Apache lover's tribe.
Buck Roberts is leading a wagon train of railroad supplies and Jim Corkle and his henchman Loder are out to stop them by using white men dressed as Indians for the attacks.