Movies I Want Everyone to See: Triple Scoop of Westerns

This post Originally appeared on the defunct site “Fogs Movie Reviews” in the Fall of 2014.

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The western as a film genre went from being the most popular form of film making in the early days of Hollywood, to one of the least seen forms of story telling in contemporary times. Part of the reason was that television drained the western of new ideas and stories. In 1959 there were 26 western themed shows airing in prime time. Those are the days of three networks and three hours a night. Today they have been replaced by crime procedurals and reality shows. As the decade of the 1960s wore on, the western film began to collapse. Sure there were successes and and surprises but by the late seventies, only Clint Eastwood appeared interested in fashioning films centered in the traditional American Western period. Westerns rally every few years and achieve moments of greatness or nostalgia. In the year 1969, three westerns managed to make an artistic achievement, a populist surge and a satisfying trip down memory lane. From the final year of the most turbulent decade in American history, I want to share Three Movies I Want Everyone to See.

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We begin our journey with the most revolutionary of the Western films of 1969, “The Wild Bunch”. This Sam Peckinpah splatterfest begins with a robbery gone wrong. An entire small town gets shot to hell as a group of bandits make their escape from a hired posse that had set them up. Dozens are killed in the slow motion mayhem and the hired lawmen turn out to be worse scum than the bad guys. The old ways are dying and old loyalties die hard as well.

This is a mediation on masculine values. What really makes a man a good friend, when is the right time to fight, what sacrifices are you willing to make, and how reckless can you be and still thrive? The story focuses an a group of hardened men who are aging and still living life as outcasts and criminals. They have each others back for the most part, but sometimes they are capable of betrayal as well. “The Wild Bunch” is filled with macho posturing and is frequently broken up by scenes of hearty male laughter, signifying a grim but understood humor.


William Holden stars as the leader of the bunch, Pike Bishop. The rest of his gang consists of some of the great character actors of the 60s and 70s. Ben Johnson and Earnest Borgnine go back to the 50s. Warren Oates is a treasure that we should have had for a lot longer. Edmund O’Brien drops in as a mentor/passive partner of the gang. The band of mercenaries hired to get them is led by Pike’s old friend and partner “Deke Thorton” played by longtime movie vet Robert Ryan. He can barely tolerate the low lifes that he has been given for the task and would much rather be riding with his old cohorts. The two most recognizable vermin on his crew are “Coffer” and “T.C.” played by gritty western stalwarts Strother Martin and L.Q. Jones.


A big chunk of the plot of the movie was improvised after the first set piece. It was pretty amazing that the train hijacking looks like it was so well planned when it actually was designed on the day they shot it. The violence in the film is straight Peckinpah, frequent, bloody and often played back in slow motion. The inevitable conclusion of the film brings galleons of fake blood to the set and an outcome that will surprise no one given the lead up. These men are not willing to take the easy way out when it is offered to them, especially when their peculiar sense of loyalty and friendship is on the line.
Holden and Borgnine form the nucleus of the film and their mediations on the changing ways of the world hold the key to the point being made here.
Pike Bishop: What would you do in his place? He gave his word.
Dutch Engstrom: He gave his word to a railroad.
Pike Bishop: It’s his word.
Dutch Engstrom: That ain’t what counts! It’s who you give it *to*!
The final walk to the confrontation to rescue their captured friend is a moment of macho swagger that was added at the last minute but has survived for an eternity since then.  If you think the line walking, laid back attitude of the hoods in “Reservoir Dogs” is cool, take a look at this image and remember that what follows was the most bloody and controversial moment of violence ever shown in a mainstream film up to that time.

Part two of our post today is almost a mirror image of the story from “The Wild Bunch”. We still have two main outlaws who trade philosophical dialogue, they are part of a dying breed and time, and they are pursued by a relentless posse. In the reverse image however, the stars are not hardened aging men but handsome  young guys. The posse is not made up of ragged scum but rather well trained professionals who are dedicated and law abiding. Instead of masculine posing we get a light hearted bromance with a dash of clever adventure thrown in.


Butch Cassidy and the Sundance Kid” is an Academy Award winning script by the talented and prolific William Goldman. It has the advantage of mostly being true. The lives of the real outlaws were very much as depicted in the film. The romantic interest played by Katherine Ross was a real but unidentified woman and the “Whole in the Wall Gang”  (in real life referred to as The Wild Bunch) did exist and carried out robberies of trains and banks across the west. The end of the story in real life took place in Bolivia, just as it was located in the film.
Unlike “The Wild Bunch”, most of “Butch Cassidy” is charming rather than grim. Butch appears to be able to talk himself out of having to resort to violence most of the time. His cleverness becomes a running gag because his plans often are fouled up despite how intelligent they seem to be. He literally cannot believe that the posse can keep following them after a half dozen tricks he uses to throw them off the track. The famous scene of Newman and Redford jumping off the cliff is a result of necessity when his ingenuity leaves Butch and Sundance with no alternative.


There is a lot of humor in the film. As the characters migrate to South America, they struggle with the language differences and resort to using crib notes when holding up a bank. In order to throw off pursuers, they take legitamate jobs as payroll guards but are mocked by their employer for being so alert and trigger happy before there is any payroll for them to guard. Strother Martin appears once again, as the mining engineer Percy Garris, who hires the two to watch his back in retrieving the payroll for the mining operation. His character is also based on a real life acquaintance of the two outlaws.
The chemistry between the two leads was so strong, and the work that they did with director George Roy Hill so successful, that the three of them teamed up again just a few years later for the Academy Best Picture of 1973 “The Sting”.  Hill also worked separately with each of the stars in later films (including the greatest sports movie ever “Slap Shot”). When you hear the phrase “the whole is greater than the sum of it’s parts” it might be hard to believe about this movie since so many elements were there to start with. Casting was right, the chemistry of the actors was wonderful and the story is delightfully told, but small touches and luck often elevate the film above its audience pleasing front. The montage of photos showing the three principles stopping off in New York before boarding a boat to South America, was created by invention when the film makers were denied the ability to shoot on the neighboring sets of “Hello Dolly”.  So the actors posed for still shots on those sets and the photos were mixed with actual shots of New York at the end of the 19th century.
There are a lot of modern film goers who don’t seem interested in westerns. This is the western made for them. The plot is not based on a traditional showdown between the good guys and the bad guys, there are no Indian sub-plots, and the movie is funny as all get out. It is difficult to imagine a more mainstream film that will satisfy non-traditionalists as much as this movie does.


If you don’t mind the traditional or the sentimental, then the last of our 1969 treats is a good way to finish up. Western fans all need to acknowledge that the King of the genre was John Wayne. For nearly fifty years, the Duke was the star of countless classic western adventure stories. The list of his films includes the star making “Stagecoach”, the amazing and somber “The Searchers” , the deconstructionist “The Man Who Shot Liberty Vallance” and the elegy “The Shootist”.  Wayne earned his long overdue and only Academy Award for this Hal Wallis production.
Most of you have probably seen the Coen Brothers version of “True Grit”. While the Coens dismiss the idea that their version is a re-make, it has the same plot line and character arc from the book it is based on as this one does. The difference is that their film is a lot less sentimental and Rooster Cogburn is not nearly as charming, although he still has grit. I love both versions of the film but being an old guy, John Wayne is going to be my favorite.


There are several wonderful scenes that have much of the same arcane dialect found in the Coen film. There are also some amazing character actors in the film that should be noticed. Robert Duvall was not a star at this point, and he plays Ned Pepper as an ornery crook without much charm. His defiance of the Marshall at the end leads to that great showdown on horseback that everyone probably knows:
Ned Pepper: What’s your intention? Do you think one on four is a dogfall?
Rooster Cogburn: I mean to kill you in one minute, Ned. Or see you hanged in Fort Smith at Judge Parker’s convenience. Which’ll it be?
Ned Pepper: I call that bold talk for a one-eyed fat man.
Rooster Cogburn: Fill your hands, you son of a bitch!

True Grit (1969)

Jeff Corey was a familiar face playing Tom Chaney, the man that Mattie Ross is pursuing. He was a well known acting teacher in the Hollywood film community. Also present in a small role was the unlikely Dennis Hopper. He spent more than a decade playing small parts on film and television, he even worked with Wayne once before on the “Sons of Katie Elder”.  This film came out the same year he broke out with his directing and starring triumph “Easy Rider”.  Talk about a pair of opposing films. “True Grit” is a western from an old studio and a producer who was legendary since the thirties. “Easy Rider” was a rejection of almost all that was standard in film making and it’s loose narrative, freeform shooting style and heroic drug dealers were the antithesis of just about every convention that this John Wayne picture represents.
It is also fitting to note that once again, Strother Martin appears in a 1969 western. This time he is Col. Stonehill, the horse trading merchant that Mattie Ross trades barbs with as she prepares to follow the two lawmen in pursuit of Tom Chaney.

True Grit (1969)

Mattie Ross: Do you know a Marshal Rooster Cogburn?
Col. G. Stonehill: Most people around here have heard of Rooster Cogburn and some people live to regret it. I would not be surprised to learn that he’s a relative of yours.

Martin completes this triple play of western roles with a third, completely different characterization. He delivers the lines with exactly the tone required to get that Charles Portis dialogue to crackle.
Late in the picture John Fiedler shows up as Lawyer Dagget, a name Mattie has bandied about like a Colt six shooter and he is nothing that anyone would have expected. Looking at IMDB, it seems Wilfred Brimley has an uncredited role in the film as well. One of the great joys in westerns are the supporting performances that help make a story more interesting and realistic. It is not always the Sheriff facing down the bad guy in the last reel that makes the film work. All three of these films have unconventional stories, great supporting performers and completely different voices in describing the western experience. Whether you prefer the gritty violence of “The Wild Bunch”, the romantic nostalgia of “Butch Cassidy and the Sundance Kid”, or the sentimental traditional western take of “True Grit”, it was clear that 1969 was stocked full of western movies that everyone should see.

Richard Kirkham is a lifelong movie enthusiast from Southern California. While embracing all genres of film making, he is especially moved to write about and share his memories of movies from his formative years, the glorious 1970s. His personal blog, featuring current film reviews as well as his Summers of the 1970s movie project, can be found at Kirkham A Movie A Day.

TCM Film Festival 10th Anniversary Recap–Day Three

When Worlds Collide

Starting off Saturday morning with a 1950s Science Fiction film just seems appropriate. This George Pal produced extravaganza features many of the disaster tropes from future films like “Armageddon” and “2012”, but the human story is actually more the point. There are a few brief sequences of disaster when the planet orbiting the star that is approaching Earth is near, but most of the drama is in the decisions about who gets to ride in the Ark spaceship and who loves who.

The screening was hosted by Dennis Miller, an avid film fan and the perfect stand in for me. His gee whiz enthusiasm for the movie and his fanboy crush on movie star Barbara Rush, reflected exactly how I would have felt if I were sitting in his seat. They talked about her career quite a bit and she still works. She had kind things to say about Producer George Pal and she seemed to be a fan of the movie as well. Maybe we can get a screening of Robin and the Seven Hoods next year and it can all be about working with the Rat Pack.

The special effects in the film are really quite good and the miniatures and photographic effects are convincing up until the climax of the movie. The survivors arrival on the new planet is a bit rushed and the background art matte looks like a coloring book rendition of another world. It was flat, overly simple and the colors were garish. Before this, the movie looked great and the cinematography was top notch. Actor John Hoyt, who will be familiar to anyone who has watched a TV show from the 50s, 60s, 70s or 80s because he was in everything, plays the cartoonish bad guy in a wheelchair. When he gets his comeuppance, everyone was happy.

Fox: An Appreciation

No one seems to want to acknowledge that Twentieth Century Fox exists in name only right now. I suppose, much like the once potent United Artists, the logo and masthead will continue to appear on theatrical releases, but as an independent film studio, Fox is no more. They will be a Disney brand for films that Disney does not want to have the Disney name on. I thought the event would be a bit more bittersweet, but instead, it was a celebration of the restoration efforts of the Fox Archive project, and that was certainly worthwhile.

Our guide for this review of great Fox films was Schawn Belston, who is the Executive Vice President of Media and Library services at Fox. This was a clip presentation with maybe twenty to thirty films getting a few moments of special attention. The opening of the program featured all of the 20th Century Fox logos and the fanfare that have opened their films since the founding of the studio. The first clip also reflected their greatest success, “Star Wars” which did play at the Festival but I skipped to see something else.

From Shirley Temple to Die Hard, a long list of distinguished movies were honored and a little bit of history about their restorations was thrown in as well. I especially appreciated Mr. Belston singling out the amazing score for the original “Planet of the Apes” and naming it’s composer out loud. Jerry Goldsmith is my favorite movie music man and this was a nice little bonus from my perspective.

This presentation was at the newest venue to join the TCM FF, American Legion Post 43.  Now you might think a Legion Hall is just a bar, a hall and some pool tables, but in this case you would be wrong. The main hall has been fitted out to be an elegant theater which would be capable of handling live productions as well as film presentations.

I did not get a shot from the back of the theater but the proscenium is quite large and you can see how cavernous this place is.

This was the only event that we attended at the Legion Post but there were films playing here all weekend. The only real drawback was the hike to the location. It is not actually any further than the Egyptian Theater is from the Roosevelt or the Chinese Theater, but the trip is a little up hill and the grade made it a bit intimidating. That plus the fact that the weekend featured typical warm California Spring days, probably deterred a few souls from attending events here.  I know my blogging friend Kristen Lopez bailed out on Wuthering Heights because of it. She has a chair and moving uphill was not going to be comfortable for her. Maybe nest year there can be a shuttle for those with mobility issues.

Those who did make it to the venue, I hope you went downstairs to use the bathroom. That would have given you a chance to see an old school hospitality room.

All About Nora

This was a panel presentation about writer/director Nora Ephron. She was responsible for some of the biggest adult targeted films of the last couple decades. I already mentioned “When Harry Met Sally”, but she wrote and directed two other famous and worthy romantic comedies, “Sleepless in Seattle’ and “You’ve Got Mail”. She passed in 2012 and the last film she worked on was “Julie & Julia”.

This event took place in Club TCM, the main meeting room in the Roosevelt Hotel. There were a number of items on display that are going up for auction through Bonhams pretty soon, so while I was waiting for the discussion, I browsed but made no purchases.

When the presentation began, it was hosted by one of the rookie hosts on TCM  Dave Karger. He introduced a distinguished panel of Ephron experts. Lauren Shuller Donner, who produced several of Ephrons films, J.J. Sacha who was her personal assistant for 14 years, actress/producer Rita Wilson who was cast in “Sleepless in Seattle” and has a great scene in the movie and Jacob Bernstein, her son and the creator of a documentary on her work.

Karger led the discussion with some appropriate questions and everyone had stories to tell. There was also a Q and A with the audience and some of those questions were worthwhile. There was a very nice touch for the conclusion of the program. Nora Ephron produced her own memorial service and had very strict food and drink guidelines. There was a pink champagne that she specified to be served at her memorial. At the conclusion of this event, everyone in the audience was served a glass of that beverage and we all offered a toast to the missing honoree.

Butch Cassidy and the Sundance Kid

Right off the bat I need to tell you that this was going to be on my schedule from the moment it was announced. I love this movie so much that one of my dogs is named after the outlaw played by Paul Newman. Another reason is that it features a performance by character actor Strother Martin, and as the keeper of the flame on the Strother Martin Film Project, I could not very well miss it. The frosting on the cake however was the appearance of the composer of the Academy Award winning song and score for the film, Mr. Burt Bacharach.

The film holds up marvelously and I can’t imagine I need to tell anyone reading this how entertaining it is. It was the biggest hit of 1969 and probably even better remembered for pairing Paul Newman and Robert Redford than “The Sting”. This was another packed house at the main Chinese Theater.

Bacharach is ninety-one this year and he was a little unsteady but his mind was sharp and his wit was keen. Eddie Muller conducted the interview and of course there was a lot of talk about all of the hits that Burt had written over the years. If you think you don’t know his work, guess again, you have heard dozens of his songs.

At the time the movie was made, he was married to Angie Dickinson, and she was theone who sort have got him the job. They were staying at a hotel in NYC when she ran into George Roy hill and she mentioned that her husband was a composer. The story Bacharach tells then involved sending information back and forth and ultimately getting the gig by chance.

Bacharach also said that his favorite composition was for the theme for “Alfie” another Academy Award Nominated song, again with lyrics by Hal David.

As we watched the movie play out, once again i was caught up in the cleverness of the dialogue and the effectiveness of Paul Newman’s comedic timing. He apparently thought he was miscast in a comedy, but this showed that he was capable in the right vehicle. He and director George Roy Hill would do another comedy in the 1970s, “Slap Shot”. That movie also features a performance by another co-star of “butch and Sundance, Strother Martin.

I was really pleased by the fact that when Strother showed up on screen, there was a smattering of applause for him. We had gotten those bits of audience approval for the stars of the film when they first show up, but leave it to a TCM Film crowd to know that they were seeing one of the great character actors of the second half of the Twentieth century.

Escape From New York

I know there are fans of the channel who will be aghast at the fact that this film is playing at the festival. It is not from the golden age of Hollywood, it is a low budget film and it is a genre that is probably not well loved by some of the TCM fans. Well the hell with all that, I am perfectly happy this was on the program and so were a number of other people. This was a high priority for Amanda and I, we are both big fans of the star and the director of this film, and both of them were going to be at the screening.

This is an mp3 file of the conversation that took place before the movie. I have not included any video because frankly, we were well in the back of the theater and just happy to get in.

The stories were fun and Carpenter pointed out that the only reason that the sequel exists is that Kurt Russel wanted to play the character again. Fans of the film have probably heard the legendary commentary track that came from the Laser Disc release originally and then appeared on DVD versions of the film. John Carpenter and Kurt Russel are friends and they seem to enjoy the heck out of each others company and it showed on that audio track and in this interview as well.

At one point the film was censored because of the presence of the World Trade Center Towers, and Carpenter thought that was a silly thing to have happen for the kind of fantasy film this really is.

We stayed for the film, even though I practically have it memorized and it was getting late. It’s just hard to skip an opportunity to watch it all on the big screen. The cast really is terrific, and it’s interesting that both Kurt and John’s former wives have roles in the movie.  So ended the long Saturday at the Festival. Next up, Last Day.



Most of the movie blog world is full of contradictory positions. You can find people passionately defending “The Tree of Life” as a poetic masterpiece, whereas others see it as a self indulgent, experimental film with little plot, weak characters and the most boring use of fantastic photography you can imagine. There are people who love “Rogue One” and haters who see it as destroying the underlying concepts of the Star Wars films. With that diversity of opinion so widespread, it probably says something that “Cars 2” is universally despised as the weakest Pixar film ever. “Cars 3” is an attempt to restore the franchise to a more satisfying status in the film world. People who never liked “Cars” in the first place will probably not be moved, but, if like me, you loved the original film and hated the sequel, you will probably be happy to know that this movie largely works.

As with the original film, there is a moral lesson to be learned here while you are enjoying the action and humor in the story. Very distinctly from the second film, the theme is not heavy handed, political and surrounded by silly story telling that makes no sense. “Cars 3” is an elegy of youth and old school practices. Maybe we can do things better and faster than we once were able to, but the joy of getting there is being lost and something important goes along with that. Lightning McQueen has had his time in the sun, but there is a turning point in our lives that everyone has to face. The question is simply, how do you hold on to your beliefs and dignity when the time has come?  Anthropomorphic automobiles are a strange way to confront this concept, but they fit it so well. Everyone who likes listening to music on an LP played with a stylus, or watching a film presented on a Laser Disc, knows that they are out of time and place, but the appreciate anyway.

There are two very positive things about how the story is handled here. First, while due acknowledgement is made to the secondary characters in the original story, they are mostly backdrop for this film. That means you will get far less Mater and Radiator Springs. The smaller dose of Lightning’s best friend is the biggest relief. Larry the Cable Guy should not be the lead character in the movie as he was in “Cars 2”.  We get just enough to know that he is still a part of Lightning’s life, but that puts him on a similar level with the other Radiator Springs characters. Paul Dooley and Bonnie Hunt and Cheech Marin all reprise their roles. I did notice that Michael Keaton was not doing the voice of Chick, and that hurt a little, but for the most part the characters who make an appearance are satisfying. New characters played by Nathan Fillion, Chris Cooper, Armie Hammer and especially Cristela Alanzo are all effective at making the story feel a bit more fresh. The second positive in the characters is that we get a fitting exit for the late Paul Newman and his character of the Hudson Hornet. With just a few pieces of dialogue and some nice moments of recall, there is a more satisfying meaning in his characters absence.

One more thing that the film does right is keep the story as closely tied to racing as possible. There are at least three big race segments and they work really well at building story and tension. As Lightning and his new trainer Cruz Ramirez put together a plan for his battling a new rival, we get a good transition story that shows us some of the themes that I mentioned earlier. We need to recognize that the world changes, and sometimes we have to adapt to those changes. Lightning is still the hero but everyone needs to be cognizant that he ain’t what he used to be. Owen Wilson’s laconic delivery and frustrated tone of voice manages to make these growing (old) pains feel more real than we should expect from a movie with talking cars.


As is usual, even in those movies where the story has failed, the artistry remains. There are some amazing parts of this film that feel so photo real that you might wonder why they bothered to create those images instead of just directly filming them, Of course there are also several moments that could only existed in an animated world as well and they look pretty spectacular as well. The humor is not quite as strong as the original film, and there may be times when the little ones will feel a bit bored, but there is another race or visual gag coming so be patient. It may not move as fast as “Cars 2” but it is a lot more valuable Car Trip to take.

Butch Cassidy and the Sundance Kid: Fathom Events/TCM Series

In preparation for this Fathom Event, I went back to an excellent post written my my friend Michael for his own blog three years ago. “An Appreciation: Butch Cassidy and the Sundance Kid” is well worth your time. There are nuances that I found really interesting and anybody who loves Butch and Sundance should love it. I also know that sitting somewhere on the other side of town, Michael was enjoying the same experience I was because there is no way he would miss an opportunity to see this wonderful film on the big screen.

I myself wrote about this film for the final post I did for “Fogs Movie Reviews“, a site that I contributed to for several months before its ultimate retirement. That post was about the three great Westerns of 1969. Today I am going to focus exclusively on the George Roy Hill film. As Ben Mankiewicz said in his intro to the film today, it was the biggest film of 1969.That was an understatement, it made over a hundred million dollars and that was more than twice as much as any other film made that year. I first saw the movie with my friend Don Hayes when his family took me with them to a drive-in theater to see the flick, that was probably late 1969 or early 1970.

The secret of the films success is so easy to identify after watching the movie again, that it surprises me. There are three essential ingredients that make this movie sing. First is the star pairing of Paul Newman and Robert Redford. In old Hollywood, they say you could feel the chemistry of stars in a film. Bogart and Bacall, Tracy and Hepburn, Flynn and DeHavilland all had charisma together that made their films fly. Here is a match between same gendered co-stars that had the same effect. Their only other outing together is the Academy Award winning “The Sting“. That’s a pretty good track record for casting. From the opening sequence, the two of them showed perfect comic timing, playing off of one another’s facial expressions and body language. In the long sequence of the film where they are fleeing the pursuing super posse, they sweat and squirm and kibbutz with a real relationship that seems built on years together as outlaws. Mankiewicz mentioned some of the original choices for the film cast and I can’t imagine Jack Lemmon as Butch but I could see Steve McQueen as Sundance. Lucky for us that we had to wait for that Newman/McQueen flick until 1974.

The direction of George Roy Hill is another piece to the success of the film. Hill has managed a number of films with a nostalgic feel, including “The Sting” and “The Great Waldo Pepper”. He may not have been as stylish as other film directors but he had an eye and an ear that would let the past come to light and I think his creative use of music cues, sepia tones and timing of comic scenes accouts for a lot of the reasons that people can love this movie. The first five or ten minutes of the movie look like the nickelodeon feature that plays behind the titles. When the three main characters head off to Bolivia, they make a stop in NYC near the turn of the 20th century and the photo montage delivers enough information that we don’t need the extended film sequence that had to be condensed for reasons of studio politics. The lighting choices for most of the night scenes feel very distinctive from other films at the time. Of curse he was aided by Conrad Hall’s cinematography.

Finally, the most important ingredient in the whole concoction is the script by William Goldman. He had done extensive research, and for the spine of the story, the opening tag that declares “Most of What Follows is True” is mostly correct. Long time fans of “The Princess Bride” will be able to recognize the attitude of some of these characters. They are non-conformists with a wicked sense of humor and a streak of fatalism about them, for instance when Sundance turns his back on Butch as he kids that he is stealing Etta from him, he mutters “Take her”.  That sounded like the Man in Black and Prince Humperdink all at once. Percy Garris mocking the two bandits turned payroll guards as Morons, is just priceless. Sheriff Bledsoe, played by Jeff Corey, speaks wisdom without the humor when he points out that times have changed and that the two outlaws have outlived their minor legend. Sundance complains about where they have landed in Bolivia, “this might be the garden spot of the whole country.” The gallows humor is abundant and it is one of the most wonderful things that Goldman contributed to the story. Goldman wrote in one of his books that this was one of two real life stories that he thought were instantly compelling and cinematic. Somehow they managed to neuter “The Ghost and the Darkness” but thank heavens this story was brought to life by the right set of artists.

The movie will be playing two more times this coming Wednesday, I can’t think of anything you might be doing that would be more enjoyable for two hours than taking in this film. Get thee to a TCM/Fathom participating theater and set yourself down for the best time to be had in 1969 and so far, 2016.