Truly Dreadful Film

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Highly watchable Western based on a story by Thomas Thompson with screenplay by the prestigious Rod Serling ; dealing with confrontation between family members and about fights between cattlemen and homesteaders . The picture gets action Western , shootouts , wonderful outdoors and turns out to be quite entertaining with amazing visual style . This interesting movie is set in post-Civil War ; it features Steve Sinclair (Robert Taylor) , a world a world-weary , prior gunfighter , now living as a peaceful farmer , his wild younger brother Tony (John Cassavetes) , and a previous dance hall girl , Joan Blake , (Julie London) , masquerading as a lady . Tony meets the cabaret girl Joan and impulsively to marry her , returning to run the family ranch . Then , things go awry when Tony arrives on the scene with his new bride Joan Blake . Everyone there is enchanted with Joan ; however , when some settlers (Royal Dano) appear , events go wrong . Agreeable Western packs drama about sibling squabbles , thrills , shootouts , go riding and some moving action sequences . It's a medium budget film with good actors , technicians , production values and pleasing results . In this case family feuds make for a really thrilling film , as it contains a thoughtful and thought-provoking script regarding to the ranch scenarios , adding ranchers confrontations , joining Western with melodrama . As well as making full of sense , intense drama and intelligence . ¨Saddle the wind¨ was hardly received its fair due and panned by some critics , as Western genre being past their peak of popularity . And the final is poignantly as well as dynamically unexpected , including an exciting duel . Good performances from Robert Taylor as obstinate ex-gunslinger , this is the best movie of Taylor's later work ; John Cassavetes as reckless as well as nutty young brother who gives a mannered but intelligent acting and Julie London as his bride who bears a dark past . Julie London catches the eye carrying out an imaginative and gorgeous acting ; besides , playing an attractive song . Large plethora of secondaries , such as Charles McGraw , Royal Dano , Richard Erdman , Ray Teal and special mention for Donald Crisp as old patriarch baron land . Colorful and glimmer cinematography by George J. Folsey , being magnificently illuminated in Cinemascope and Metrocolor , setting itself against the marvelous backdrop of the Colorado Rockies , actually filmed on location in Rosita , Colorado . Evocative as well as atmospheric musical score by the great Elmer Bernstein , along with a catching song at the beginning composed by Jay Livingstone . However , a first soundtrack was written and recorded by Jeff Alexander but had to be replaced due to extensive re-cutting . The motion picture was professionally directed in sure visual eye by Robert Parrish providing an abundance of noisy acting , color and stirring happenings . Among his best received works was this brooding western ¨Saddle the Wind¨ (1958) . He was an Academy Award-winning film editor who also realized and acted in movies . Parrish was soon working on some of Hollywood's most prestigious films, cementing his reputation as one of the America's premier editors . Unfortunately, while many of his directorial efforts were visually impressive ,especially his war drama , ¨The Purple Plain¨ , his labour as editor was excellent . As an editor he won an Academy Award for Body and soul (1947), the 1947 Robert Rossen film that starred John Garfield as a money-grubbing, two-timing boxer on the make . Parrish also worked on All the King's Men (1949), an account of the rise and fall of a Louisiana politician that won the Academy Award for Best Picture . Parrish then moved on to direct films during the 1950s and 1960s . He realized a variety films of all kind of genres , such as melodrama : ¨Fire down below¨ , comedy : ¨The Bobo¨ , parody : ¨Casino Royale¨ , a Noir film titled ¨Cry danger¨ , a Sci-Fi picture titled ¨Journey to the far side of the sun¨ , a thriller titled ¨The Marseille Contract¨ or ¨The Destructors¨ and another strange Western called ¨A town called Bastard¨. And of course , ¨Saddle the wind¨¨ resulted to be one of his best films .

SADDLE THE WIND - 1958I finally got around to this 1958 western headlined by Robert Taylor, John Cassavetes and Julie London. The film is sort of a psychological Western written by the great Rod Serling. It was helmed by director Robert Parrish with help from an uncredited John Sturges. Robert Taylor is an ex gunfighter who owns a ranch in a high mountain valley. The man had worked for the main land owner in the valley, Donald Crisp for years. Crisp, in sort of a mentor role, had softened Taylor's hard edges and turned him into a solid citizen. Crisp had even given Taylor a piece of land to start his own cattle ranch. Of course there needs to be something to upset this pleasant image. And that is Taylor's younger brother, John Cassavetes. Cassavetes is a wild rather unstable lad who does not like living in the shadow of his popular brother. Cassavetes, just back from a supply buying run to the big city, arrives back at the ranch with his pretty bride to be, Julie London. London, a former dance hall singer, believes that Cassavetes might be her ticket to the good life. Taylor sees London as a gold digger and tries to send her back. The kid brother has shall we say, developed an itchy trigger finger. Taylor knows full well how such a liking for the gun will end. He tries repeatedly to get his younger brother to relax. London soon clues in on the fact that Cassavetes is really jealous of Taylor, and is a rat at heart.Cassavetes, Taylor, London and a few of the boys ride into what passes for the local one horse town. It is the small general store, bar and livery stable type burg. Cassavetes hits the bar for a few. Soon a famous gunman, Charles McGraw, enters. McGraw is looking for Taylor. Taylor shot his brother in a gunfight some years before and McGraw has finally tracked him to the valley.Cassavetes calls McGraw out not knowing just how good McGraw is. It is only through a bit of luck and McGraw being distracted at the right moment that Cassavetes emerges the victor. Needless to say this gives Cassavetes a swelled head. This leads to more idiot behaviour from the kid. He soon kills again and finds he likes it. His actions literally start what could end in a range war, when he shoots the leader of a group of squatters, Royal Dano. He then really stokes the fire when he shoots and badly wounds, Donald Crisp. Taylor of course has to settle the issue, brother or no brother. A somewhat grim, but very well-crafted film with an ending I was not expecting. The rest of the cast includes Ray Teal, who seemed to be in every second western, Doug Spencer, Jay Adler and Stanley Andrews. London is very under used here but she does manage to get in a song. The film was shot on location in Colorado which adds a nice look to the production. Director Parrish is well known to fans of film noir as the helmsman on CRY DANGER and THE MOB. He also handled the reins on the top Robert Mitchum western, THE WONDERFUL COUNTRY. Veteran cinematographer George Folsey is at the controls as the director of photography. The 11 time Oscar nominated Folsey's work includes. MEET ME IN ST LOUIS, ADAM'S RIB, MALAYA, THE BIG HANGOVER, VENGEANCE VALLEY, ALL THE BROTHER WERE VALIANT, EXCECUTIVE SUITE, THE COBWEB and HOUSE OF NUMBERS.

A Sleeper that is one of the Better Westerns of the Fifties, an Excellent, slightly Off-Beat, and smartly Written and Directed Movie. There doesn't seem to be a bit of Filler or Padding in this sharply defined Picture. It also has an Ending that you won't see coming, although there is a Scene early on that is a foreshadow for those with a keen eye.The strong Cast is only eclipsed by Rod Serling's scathing, minimalist, Dialog Driven Script that is snappy and tough. It has a Widescreen, Colorful backdrop with unusually Authentic looking Sets and a sprawling Landscape. This is one from that Decade that was so proliferated with Westerns and just about all of them were Interchangeable. But not this one. Along with likes of Boetticher and Mann, this one belongs.If you need Name Dropping, aside from Serling, there is the fine, sometimes Cynical Director Robert Parrish, Pretty Songbird Julie London, Streetwise smoothie John Cassavetes as an Angst driven Hot-Head, Robert Taylor (never better), reliable Staff such as Donald Crisp, and Charles Mcgraw (with a great show starter Scene), and Roy Dano in a touching, heart wrenching significant Role. A must for any Western Fan and for those who wander in the Genre looking for the Best.

In the 1950s, the best way to attack an intolerably conformist society was to take a harmless 'popular' genre and subvert it, overturn its assumptions. Sirk did it with the woman's picture, Minnelli with the musical, Hitchcock with the thriller; Robert Parrish does it here with the Western, with a vision of Eisenhower family-values capitalist America as a medieval feudality, where everyone must pay obeisance to a landowner, where the stable family unit consists of a killer and a wild sexual neurotic, and where capitalism is actually destructive to the family and continuity, a sterile thing.Whether John Cassavetes is an embodiment of the Western hero gone wrong, the pressure of capitalism turned in on itself, or a rebel without a cause, the film is full of powerful incident - Cassavetes' first insane shooting spree, which he ends by shooting his own puddled reflection; the drunken attack by Cassavetes and friend on a family of homesteaders, uncomfortably reversing the old attacking-Indians routine; the Leonesque showdown between Cassavetes and Ellison backed by his own brother. Very much a post-'Searchers' Western, land here is synonymous with spilt blood not destiny.