66 recensioni
Like McCrea, Scott did not become exclusively a Westerner until the mid-forties, but once established he became a Western star of distinction, achieving his best and most interesting roles as his career matured
Scott was a great gentleman It was simple for him to do the part because it was indeed the prime quality he brought to his many roles as lawman or lone rider Scott's best work was the group of seven movies he made with director Budd Boetticher in the fifties In these he obtained a new stature as the lone figure on a mission of vengeance or similar private quest, becoming a tougher, more forceful character, the archetype of the much-parodied image As we all know, a man's actions are what make the man, and over and over again, Scott believed in courage He believed in conspicuous displays of courage And finally he rounded off this splendid climax to a long career by starring with Joel McCrea in "Ride the High Country."
Boetticher's style was marvelously simple and economical, sticking closely to the same plots, locations and character types in each of his Westerns and stressing movement and action rather than ideas
Budd Boetticher's "Seven Men From Now" is 78 minutes And as concise as this great Western is, it has four really well-developed characters traveling through Apache country; beautiful storytelling; takes full advantage of the location; and there are a lot of narrative incidents
Ben Stride (Scott) represents a man whose wife has been killed and he's going to go out and seek revenge But his style is ramrod straight and not very interesting The killers that Stride is after are all opportunists They are men who had broken the law Boetticher introduces a sympathetic bad man, Bill Masters (Lee Marvin) who had been put in jail twice by the ex-Sheriff But you get the sense that Masters wouldn't kill a woman That's not what he has in mind... But, surely, he wants the $20,000 in gold from the strongbox Ultimately, he had to test himself up against Ben Stride in the final confrontation: the stronger villain against the stronger hero
Lee Marvin stole the show He had all the little tricks, and twitches, and schemes He is magnetic, especially in one key scene on that stormy night, when he gets inside the covered wagon, asking for a cup of hot black coffee Tension mounts when he tells John Greer (Walter Reed) that his wife is beautiful He wanted to get on Stride's nerves And some tension grew between the three characters
Annie Greer (Gail Russell) was the object of desire She was wonderful foil, essential, torn between two men Obviously her character quite quickly falls for Scott's character Her husbandwho seems weakturns out to be stronger than we thought... Stride let his own life down because he was too proud We hear him says: "A man ought to be able to take care of his woman." This is the line that's submitted to a test by the whole action and script and direction of the movie
One last note: Without sacrificing any of the traditional action elements, there was somehow an extra dimension to the Boetticher Westerns; they had a biting, underplayed quality, the kind of films one would have expected had John Huston (in his prime) suddenly decided to become a director of Westerns
Scott was a great gentleman It was simple for him to do the part because it was indeed the prime quality he brought to his many roles as lawman or lone rider Scott's best work was the group of seven movies he made with director Budd Boetticher in the fifties In these he obtained a new stature as the lone figure on a mission of vengeance or similar private quest, becoming a tougher, more forceful character, the archetype of the much-parodied image As we all know, a man's actions are what make the man, and over and over again, Scott believed in courage He believed in conspicuous displays of courage And finally he rounded off this splendid climax to a long career by starring with Joel McCrea in "Ride the High Country."
Boetticher's style was marvelously simple and economical, sticking closely to the same plots, locations and character types in each of his Westerns and stressing movement and action rather than ideas
Budd Boetticher's "Seven Men From Now" is 78 minutes And as concise as this great Western is, it has four really well-developed characters traveling through Apache country; beautiful storytelling; takes full advantage of the location; and there are a lot of narrative incidents
Ben Stride (Scott) represents a man whose wife has been killed and he's going to go out and seek revenge But his style is ramrod straight and not very interesting The killers that Stride is after are all opportunists They are men who had broken the law Boetticher introduces a sympathetic bad man, Bill Masters (Lee Marvin) who had been put in jail twice by the ex-Sheriff But you get the sense that Masters wouldn't kill a woman That's not what he has in mind... But, surely, he wants the $20,000 in gold from the strongbox Ultimately, he had to test himself up against Ben Stride in the final confrontation: the stronger villain against the stronger hero
Lee Marvin stole the show He had all the little tricks, and twitches, and schemes He is magnetic, especially in one key scene on that stormy night, when he gets inside the covered wagon, asking for a cup of hot black coffee Tension mounts when he tells John Greer (Walter Reed) that his wife is beautiful He wanted to get on Stride's nerves And some tension grew between the three characters
Annie Greer (Gail Russell) was the object of desire She was wonderful foil, essential, torn between two men Obviously her character quite quickly falls for Scott's character Her husbandwho seems weakturns out to be stronger than we thought... Stride let his own life down because he was too proud We hear him says: "A man ought to be able to take care of his woman." This is the line that's submitted to a test by the whole action and script and direction of the movie
One last note: Without sacrificing any of the traditional action elements, there was somehow an extra dimension to the Boetticher Westerns; they had a biting, underplayed quality, the kind of films one would have expected had John Huston (in his prime) suddenly decided to become a director of Westerns
- Nazi_Fighter_David
- 26 ott 2007
- Permalink
Seven Men from Now is directed by Budd Boetticher and produced by John Wayne's Batjac Productions. Written by Burt Kennedy it stars Randolph Scott, Gail Russell & Lee Marvin. Music is by Henry Vars & William H. Clothier photographs out of Alabama Hills and Lone Pine, California.
Former Sheriff Ben Stride is on the trail of the seven men - who whilst robbing a Wells Fargo office - killed his wife in the process. Mentally tortured by having lost his job that resulted in his wife having to work at Wells Fargo, Stride is totally driven by hurt and anger. But along the way he helps a married couple who are stuck in the mud, who persuade Stride to ride West with them in case of further problems. They are then joined by a couple of suspect characters who have their own private agenda for tagging along with Stride - all parties seemingly heading for the day when the truth will out.
Director Budd Boetticher and leading Western star Randolph Scott made between 1956 and 1960, seven intoxicating and genre bending films. This was the first of their collaborations, and although it can be said they were merely honing their "Adult Western" bent here, all the traits that would make the upcoming The Tall T, Ride Lonesome and Comanche Station so worthy of genre classic status is evident here in this film. Though simple in plot - I mean man on a mission movies are not exactly rare are they? - Seven Men From Now is boosted by a smartly ambiguous turn from Lee Marvin as Bill Masters, while Boetticher's ability to raise his complex and hungry characters above and beyond the standard tale further gives the piece some kudos. Incidents dot themselves throughout the story to keep the film from ever drifting to the mundane, while the location captures are gorgeous, and this is where we should be thankful to cinematographer William H. Clothier for realising that Boetticher needs his vista to be another character in his play.
Originally intended as a vehicle for John Wayne, who took producing duties instead when his schedule wouldn't allow him the time to star, Seven Men From Now gave Randolph Scott a chance to show just what a fine actor he was. As the troubled Ben Stride he could so easily have played him as corny and grumpy, but Scott gives him the emotional depth that Burt Kennedy's script demands. Gail Russell (Annie Greer) is the lady of the piece, she ultimately led a sad real life, but at least here as the woman caught between two men, we get to see that she did have the ability when called upon - even if this didn't relaunch her career in the way that her friend John Wayne had originally hoped for. In fact Gail was to sadly succumb to the alcoholism that blighted her life just five years later, aged just 36. Thankfully this film stands up as a fine way to remember her beauty and for the efforts that she put into the Western genre.
Lacking the heavy cloud of doom of Boetticher & Scott's best collaborations, this one, however, boasts richly interesting characters that are telling a cunning moral allegory tale. It be an Oater for those who like intelligence over yee-haw like histrionics. 8/10
Former Sheriff Ben Stride is on the trail of the seven men - who whilst robbing a Wells Fargo office - killed his wife in the process. Mentally tortured by having lost his job that resulted in his wife having to work at Wells Fargo, Stride is totally driven by hurt and anger. But along the way he helps a married couple who are stuck in the mud, who persuade Stride to ride West with them in case of further problems. They are then joined by a couple of suspect characters who have their own private agenda for tagging along with Stride - all parties seemingly heading for the day when the truth will out.
Director Budd Boetticher and leading Western star Randolph Scott made between 1956 and 1960, seven intoxicating and genre bending films. This was the first of their collaborations, and although it can be said they were merely honing their "Adult Western" bent here, all the traits that would make the upcoming The Tall T, Ride Lonesome and Comanche Station so worthy of genre classic status is evident here in this film. Though simple in plot - I mean man on a mission movies are not exactly rare are they? - Seven Men From Now is boosted by a smartly ambiguous turn from Lee Marvin as Bill Masters, while Boetticher's ability to raise his complex and hungry characters above and beyond the standard tale further gives the piece some kudos. Incidents dot themselves throughout the story to keep the film from ever drifting to the mundane, while the location captures are gorgeous, and this is where we should be thankful to cinematographer William H. Clothier for realising that Boetticher needs his vista to be another character in his play.
Originally intended as a vehicle for John Wayne, who took producing duties instead when his schedule wouldn't allow him the time to star, Seven Men From Now gave Randolph Scott a chance to show just what a fine actor he was. As the troubled Ben Stride he could so easily have played him as corny and grumpy, but Scott gives him the emotional depth that Burt Kennedy's script demands. Gail Russell (Annie Greer) is the lady of the piece, she ultimately led a sad real life, but at least here as the woman caught between two men, we get to see that she did have the ability when called upon - even if this didn't relaunch her career in the way that her friend John Wayne had originally hoped for. In fact Gail was to sadly succumb to the alcoholism that blighted her life just five years later, aged just 36. Thankfully this film stands up as a fine way to remember her beauty and for the efforts that she put into the Western genre.
Lacking the heavy cloud of doom of Boetticher & Scott's best collaborations, this one, however, boasts richly interesting characters that are telling a cunning moral allegory tale. It be an Oater for those who like intelligence over yee-haw like histrionics. 8/10
- hitchcockthelegend
- 29 mag 2009
- Permalink
- planktonrules
- 24 giu 2007
- Permalink
Underrated entry in Boetticher-Scott cycle of Westerns. Maybe it's because this was the first collaboration between the two that has kept it overshadowed by better-known entries like The Tall T or Decision at Sundown. Nonetheless, the essential elements are already present: a laconic, embittered Scott, the neolithic Alabama Hills, a villain with some scruples (Lee Marvin), and an excellent script (Burt Kennedy). There's also a couple of neat surprises that make sense.
Note how well that first scene is both conceived and staged. Stranger Scott rides up to campfire where two other strangers sit cozily, drinking coffee. It's cold and Scott wants to sit awhile. Naturally, there's some wariness since these are strangers meeting in a hostile environment. But soon Scott and one stranger (John Beradino) start sounding friendly. Now, Boetticher could have cut between close-ups of the two conversing. But he doesn't. Instead he keeps the silent cowboy in the same frame as Beradino and cuts between them and Scott. This keeps a certain tension alive in the scene because the second stranger looks worried even while Scott and Beradino begin to warm up, and we're reminded of that every time the camera switches to Beradino. Thus, the undercurrent of unexplained unease never leaves the scene, until events climax. It's a brilliantly executed passage that hooks the audience for the remainder. It's also touches like this that lifted the cycle to classic status.
Then too, there's a chance to scope out a young Lee Marvin, about as good an actor as there was at the time. You never know what his talkative villain will do next. Pitting him against the sternly taciturn Scott makes for marvelously contrasting styles. Scott's ongoing role in these movies is a role he apparently was born to play, after starting his career in sappy male leads. Then too, there's the gorgeous and doggedly loyal Gale Russell as the pale-eyed wife. Her scenes with Scott amount to little gems of suppressed desire. But especially qualifying as a classic is the stormy night in the wagon. The tension there builds as Marvin tries to rile Russell's mild-mannered husband (Walter Reed), while Scott and Russell look on. The scene is beautifully played and fairly crackles with cross-currents of emotion as Marvin exploits the growing attraction between the married Russell and the conflicted Scott. My only complaint is the very last scene where the usually sure-handed Kennedy flounders and Russell looks like she just stepped out of a Hollywood beauty salon. Just goes to show, I suppose, the difficulty Westerns traditionally have when deciding on romantic commitment.
Another characteristic in this initial entry is Scott's clear code of honor. It's macho-based but also notable for its gallantry. Scott's not too proud to help Russell hang out the wash, nor will he get overt as long as Russell's married. But just listen when Russell strays into his private concerns, such as that of his dead wife. His voice turns suddenly cold and hard, and you know this is a man with a firm code of honor that will not be compromised, even by an appealing woman. He may not be as personable as villains like Marvin, but there's always that strict code that commands respect and guides his actions.That's the kind of character Scott portrays throughout the cycle, and is a major reason why little gems like Seven Men from Now endure.
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Note how well that first scene is both conceived and staged. Stranger Scott rides up to campfire where two other strangers sit cozily, drinking coffee. It's cold and Scott wants to sit awhile. Naturally, there's some wariness since these are strangers meeting in a hostile environment. But soon Scott and one stranger (John Beradino) start sounding friendly. Now, Boetticher could have cut between close-ups of the two conversing. But he doesn't. Instead he keeps the silent cowboy in the same frame as Beradino and cuts between them and Scott. This keeps a certain tension alive in the scene because the second stranger looks worried even while Scott and Beradino begin to warm up, and we're reminded of that every time the camera switches to Beradino. Thus, the undercurrent of unexplained unease never leaves the scene, until events climax. It's a brilliantly executed passage that hooks the audience for the remainder. It's also touches like this that lifted the cycle to classic status.
Then too, there's a chance to scope out a young Lee Marvin, about as good an actor as there was at the time. You never know what his talkative villain will do next. Pitting him against the sternly taciturn Scott makes for marvelously contrasting styles. Scott's ongoing role in these movies is a role he apparently was born to play, after starting his career in sappy male leads. Then too, there's the gorgeous and doggedly loyal Gale Russell as the pale-eyed wife. Her scenes with Scott amount to little gems of suppressed desire. But especially qualifying as a classic is the stormy night in the wagon. The tension there builds as Marvin tries to rile Russell's mild-mannered husband (Walter Reed), while Scott and Russell look on. The scene is beautifully played and fairly crackles with cross-currents of emotion as Marvin exploits the growing attraction between the married Russell and the conflicted Scott. My only complaint is the very last scene where the usually sure-handed Kennedy flounders and Russell looks like she just stepped out of a Hollywood beauty salon. Just goes to show, I suppose, the difficulty Westerns traditionally have when deciding on romantic commitment.
Another characteristic in this initial entry is Scott's clear code of honor. It's macho-based but also notable for its gallantry. Scott's not too proud to help Russell hang out the wash, nor will he get overt as long as Russell's married. But just listen when Russell strays into his private concerns, such as that of his dead wife. His voice turns suddenly cold and hard, and you know this is a man with a firm code of honor that will not be compromised, even by an appealing woman. He may not be as personable as villains like Marvin, but there's always that strict code that commands respect and guides his actions.That's the kind of character Scott portrays throughout the cycle, and is a major reason why little gems like Seven Men from Now endure.
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- dougdoepke
- 17 gen 2008
- Permalink
- rmax304823
- 19 ago 2006
- Permalink
I have a story to tell about this one. I had never heard of Bud Boetticher or "7 Men from Now" when I set out with my mom (a cool old lady) to Berkeley to see what was going on (she's from out of town). We found a schedule for the Pacific Film Archive and it said they were showing 2 westerns by Bud Boetticher and that he would be there. Well, I'm a sucker for meeting directors (very few crawl out to bask in the sun, it must be bad for their complexion) especially if they directed lots of b movies. They were showing "Bullfighter and the Lady" (also excellent) and "7 Men From Now." 7 Men is one of the best westerns I have ever seen, Lee Marvin and Randolph Scott are just terrific and the direction is amazing. I thought the kinetic energy combined with the extreme tension in the fights at the end were excellent. Now, after the show Boetticher and his wife showed up and Boetticher had some illuminating words to say. After that he met some of us in the audience, and I happened to mention how much I liked the scene where Gail Russell is in the wagon and puts out the candle and has a brief but oddly touching dialogue with Randolph Scott, who is lying under the wagon. What Boetticher said was "Yes, that's a much better way to do a sex scene, now isn't it?". When I reflected on this statement later, I realized what seemed casual at first was in fact a profound statement on film expression: Boetticher was telling me that what he was showing WAS sex. Maybe, I think he suggested, throbbing bodies and dim lights aren't sex at all. Maybe what so many people in my generation (I'm 25) take as naivete in classic films was....... dare I say it, TASTE AND STYLE???!!! Yes is the answer. And Boetticher's got both of them, hats off to him and everyone else involved in this fine film I hope everyone sees (and I hope I get a chance to see again and again).
This is one of my favorite westerns. Since it has been out of circulation until recently, few of the new generation have got to see it. Hopefully now that it has been restored on DVD it will receive its just desserts. If at all possible, see the wide-screen version. Budd Boetticher believed that as many shots as possible should be made outside. His movies have few interior scenes. He shot his best westerns in Lone Pine, California, second only to Utah's Mounument Valley for natural beauty that fulfills anyone's fantasy of how the Old West should appear on the big screen. "Seven Men From Now" also contains one of my favorite movie shots highlighting the genius of Boetticher. When Ben Stride (Randy Scott) draws against Bill Masters (Lee Marvin) the viewer never sees Stride draw. His/Her imagination must be used to visualize just how fast Stride's draw is. It's sort of like the old joke used on the Steve Allen Television Show by Don Knotts. He never moves his hands and asks the viewer, "Wanna see it again?"
These were the early days of Lee Marvin's film career when he was still trying to prove himself as a viable actor. In "Seven Men From Now" he succeeds beyond one's wildest expectations. Though he deserved the Oscar for "Cat Ballou" a few years later, he is actually better in "Seven Men From Now" than he was in that award-winning flick. After "Cat Ballou" his acting deteriorated somewhat, though from time to time he turned in an admirable performance especially in the neglected classic "Point Blank." Second only to Lee Marvin, is Randolph Scott who never gave a poor performance. He plays to perfection his role as a revenge seeking, self-pitying Marshall who still believes in fair play and romance. John Wayne was originally slotted for the role, but it is doubtful that even such a great actor as Wayne could have played Ben Stride the way he was meant to be portrayed, the way Randy Scott plays him. The finely honed well-written script is by Burt Kennedy who would go on to make one of the funniest westerns ever, "Support Your Local Sheriff." What a team Boetticher, Kennedy, and Scott made.
Though it is good to see the old cowboy star Don "Red" Barry on the big screen once more, his part as Bill Masters' weak-minded sidekick does not fit him. He is sadly miscast. A character actor such as Strother Martin would have fit the role much better.
This is one of those films not to be missed whether you're a western fan or not. It can be viewed repeatedly and enjoyed more each time.
These were the early days of Lee Marvin's film career when he was still trying to prove himself as a viable actor. In "Seven Men From Now" he succeeds beyond one's wildest expectations. Though he deserved the Oscar for "Cat Ballou" a few years later, he is actually better in "Seven Men From Now" than he was in that award-winning flick. After "Cat Ballou" his acting deteriorated somewhat, though from time to time he turned in an admirable performance especially in the neglected classic "Point Blank." Second only to Lee Marvin, is Randolph Scott who never gave a poor performance. He plays to perfection his role as a revenge seeking, self-pitying Marshall who still believes in fair play and romance. John Wayne was originally slotted for the role, but it is doubtful that even such a great actor as Wayne could have played Ben Stride the way he was meant to be portrayed, the way Randy Scott plays him. The finely honed well-written script is by Burt Kennedy who would go on to make one of the funniest westerns ever, "Support Your Local Sheriff." What a team Boetticher, Kennedy, and Scott made.
Though it is good to see the old cowboy star Don "Red" Barry on the big screen once more, his part as Bill Masters' weak-minded sidekick does not fit him. He is sadly miscast. A character actor such as Strother Martin would have fit the role much better.
This is one of those films not to be missed whether you're a western fan or not. It can be viewed repeatedly and enjoyed more each time.
Scott's stoicism serves well here as he plays a man haunted by the ghosts of his past, and by what he perceives as his personal shame. The film benefits greatly from Lee Marvin's outstanding turn as an old nemesis who may want one more shot at the former sheriff who imprisoned him, and who rather enjoys twisting the knife after someone makes an innocently hurtful remark. Particularly effective scenes include Scott's nighttime conversation with Gail Russell (the wife in the couple he assists on their road West), as he lies under their prairie schooner and she lies above him with the wagon's floor separating them.
The story proceeds effectively, steadily revealing more of the dangers facing Scott in his quest; the dialogue is particularly sharp and enjoyable. The men he pursues are not particularly memorable - certainly not nearly so interesting as Marvin - but the real focus here is on Scott's character as he finds himself affected by his journey.
Not a truly great western in the mold of Shane or High Noon, or the classics of John Ford, this is still a fine addition to the genre and very enjoyable and moving. 7 of 10
The story proceeds effectively, steadily revealing more of the dangers facing Scott in his quest; the dialogue is particularly sharp and enjoyable. The men he pursues are not particularly memorable - certainly not nearly so interesting as Marvin - but the real focus here is on Scott's character as he finds himself affected by his journey.
Not a truly great western in the mold of Shane or High Noon, or the classics of John Ford, this is still a fine addition to the genre and very enjoyable and moving. 7 of 10
John Wayne's Batjac productions was the producer of this fine B western and it shows the clout of star power. According to a book I have about those last three B western heroes, Randolph Scott, Joel McCrea, and Audie Murphy, Wayne liked the script and wanted to do it himself, but at the time was tied up with The Searchers. He peddled the script which he owned because Burt Kennedy who wrote it was under contract to Batjac and was doing it under Wayne's auspices to a number of people before getting Randolph Scott. When it premiered Wayne cursed himself that he hadn't done it.
If he had it would have become a classic like The Searchers. Wayne was at the height of his career at that point and Randolph Scott was doing good critically acclaimed, but B programmers that filled the second half of double bills at that time.
Hard to see how the Duke would have been better than Randolph Scott. He's a former sheriff out hunting the men who robbed a Wells Fargo express office and killed his wife who was working there. While on the hunt he runs into Walter Reed and Gail Russell who are a homesteader and wife traveling to California. Scott helps them out and rides along with them. Their story and his get enmeshed as the plot unfolds.
Gail Russell was a tragic figure who was a good friend of Wayne's. She had a lot of problems both emotional and with substance abuse. Like the Duke was wont to do, he gave her a part in this hoping for a comeback. Though she was good, it was not to be the case.
Her husband in the film, Walter Reed, got another chance to work with John Wayne this time in The Horse Soldiers as one of the officers on the raid that Wayne was leading. So did Stuart Whitman who has a bit role as a young army lieutenant. Their chemistry in The Comancheros was legendary.
Speaking of The Comancheros, Lee Marvin is memorable here as one of the villains with some highly mixed motives. And he too would get to work with John Wayne in the future.
Seven Men from Now is a fine film which but for a previous commitment could have been an A picture and a John Wayne classic. But Randolph Scott could hardly have been topped for the performance he gave.
If he had it would have become a classic like The Searchers. Wayne was at the height of his career at that point and Randolph Scott was doing good critically acclaimed, but B programmers that filled the second half of double bills at that time.
Hard to see how the Duke would have been better than Randolph Scott. He's a former sheriff out hunting the men who robbed a Wells Fargo express office and killed his wife who was working there. While on the hunt he runs into Walter Reed and Gail Russell who are a homesteader and wife traveling to California. Scott helps them out and rides along with them. Their story and his get enmeshed as the plot unfolds.
Gail Russell was a tragic figure who was a good friend of Wayne's. She had a lot of problems both emotional and with substance abuse. Like the Duke was wont to do, he gave her a part in this hoping for a comeback. Though she was good, it was not to be the case.
Her husband in the film, Walter Reed, got another chance to work with John Wayne this time in The Horse Soldiers as one of the officers on the raid that Wayne was leading. So did Stuart Whitman who has a bit role as a young army lieutenant. Their chemistry in The Comancheros was legendary.
Speaking of The Comancheros, Lee Marvin is memorable here as one of the villains with some highly mixed motives. And he too would get to work with John Wayne in the future.
Seven Men from Now is a fine film which but for a previous commitment could have been an A picture and a John Wayne classic. But Randolph Scott could hardly have been topped for the performance he gave.
- bkoganbing
- 20 dic 2005
- Permalink
Budd Boetticher and Randolph Scott made some great westerns together. Along with the team of Anthony Mann and James Stewart, they pretty much owned the western in the 1950s. This is one of the best of the Boetticher/Scott films. The plot is about a former sheriff (Randolph Scott) who is tracking seven men who killed his wife in a gold robbery. While on their trail he encounters a greenhorn couple and winds up taking them along. Soon after they are joined by two criminals (Lee Marvin, Don Barry), who hope to get their hands on the stolen gold.
Another solid character-driven western from Boetticher and Scott. Fine performances from everyone. The movie was produced by John Wayne's production company. The Duke himself couldn't star because he was tied up with the classic The Searchers. Gail Russell was cast because she was a friend of Wayne's. She hadn't worked in five years due to her struggles with alcoholism. Wayne hoped this might help her mount a comeback and turn her life around. Sadly, it did not. She made just two more films and some television appearances before dying in 1961 at the age of 36 from liver damage due to her years of alcohol abuse. Sad end for such a lovely young woman.
Another solid character-driven western from Boetticher and Scott. Fine performances from everyone. The movie was produced by John Wayne's production company. The Duke himself couldn't star because he was tied up with the classic The Searchers. Gail Russell was cast because she was a friend of Wayne's. She hadn't worked in five years due to her struggles with alcoholism. Wayne hoped this might help her mount a comeback and turn her life around. Sadly, it did not. She made just two more films and some television appearances before dying in 1961 at the age of 36 from liver damage due to her years of alcohol abuse. Sad end for such a lovely young woman.
"Seven Men From Now" marked the first of seven compact 75-80 minute little westerns starring Randolph Scott and directed by Budd Boetticher. This one was produced by John Wayne's Batjac production company. It was originally intended for Wayne but he was busy on "The Searchers" (1956) at the time, so the role went to Scott. One has to wonder what would have happened had Wayne starred. For instance the running time would probably have had to have been lengthened to elevate it to "A" picture status. As it was it is a compact 78 minute "B" plus classic with an excellent cast and crisp direction.
This picture had been locked away in the Batjac vaults until recently when this and several other Batjac productions were painfully restored to their original brilliance under the direction of Michael Wayne.
Ex marshal Ben Stride (Scott) is on the trail of seven outlaws who robbed the freight office in his town and killed his wife in the process. Stride had been defeated for the job of sheriff and had refused to take the deputy sheriff job, thus he carries the burden of blame for not being there to save his wife.
Stride catches up to two of the men in the opening sequence with predictable results. Later on, he comes upon a young couple, the Greers, traveling west by way of the town that Stride is going to. When we meet John Greer (Walter Reed) and his wife Annie (Gail Russell), they are virtually stuck in the mud. Stride helps them out and decides to travel along with them. Greer seems to be a bit of a milk toast and an attraction forms between Annie and Stride.
Along the trail they meet up with Bill Masters (Lee Marvin) and his pal Clete (Donald Barry). Although Stride suspects that they might be a part of the gang, Masters soon lets it be known that he too is after the $20,000 stolen in the robbery. After a falling out Masters and Clete ride ahead to town and meet the remaining members of the gang headed by Bodeen (John Larch). They learn that the gold is being brought to them in Greer's wagon.
The gang rides out to try and ambush Stride and Masters and Clete ride after them. Out in the country a showdown ensues and..........
This film established the types of characters that would appear in the subsequent six films, the solitary granite jawed hero with a past and the likable but lethal villain. The final six films would be produced by Scott's Ranown production company.
The beautiful but tragic Gail Russell was fighting her personal demons at this time. Her past relationship with John Wayne no doubt figured in her getting this part, which she carries off well. She died at the young age of 36 in 1961. For Marvin, I believe that this was the first time that he was billed above the title. He practically steals the picture as the likable but deadly villain. Walter Reed was a staple of the John Ford stock company and has one of the best roles of his career in this film. Watch for Stuart Whitman as a cavalry lieutenant and Wayne stunt double Chuck Roberson as one of the outlaws. Donald Barry was better known as Don "Red" Barry in the 1940s as the result of having played Red Ryder in the 1940 serial "The Adventures of Red Ryder".
A great little western.
This picture had been locked away in the Batjac vaults until recently when this and several other Batjac productions were painfully restored to their original brilliance under the direction of Michael Wayne.
Ex marshal Ben Stride (Scott) is on the trail of seven outlaws who robbed the freight office in his town and killed his wife in the process. Stride had been defeated for the job of sheriff and had refused to take the deputy sheriff job, thus he carries the burden of blame for not being there to save his wife.
Stride catches up to two of the men in the opening sequence with predictable results. Later on, he comes upon a young couple, the Greers, traveling west by way of the town that Stride is going to. When we meet John Greer (Walter Reed) and his wife Annie (Gail Russell), they are virtually stuck in the mud. Stride helps them out and decides to travel along with them. Greer seems to be a bit of a milk toast and an attraction forms between Annie and Stride.
Along the trail they meet up with Bill Masters (Lee Marvin) and his pal Clete (Donald Barry). Although Stride suspects that they might be a part of the gang, Masters soon lets it be known that he too is after the $20,000 stolen in the robbery. After a falling out Masters and Clete ride ahead to town and meet the remaining members of the gang headed by Bodeen (John Larch). They learn that the gold is being brought to them in Greer's wagon.
The gang rides out to try and ambush Stride and Masters and Clete ride after them. Out in the country a showdown ensues and..........
This film established the types of characters that would appear in the subsequent six films, the solitary granite jawed hero with a past and the likable but lethal villain. The final six films would be produced by Scott's Ranown production company.
The beautiful but tragic Gail Russell was fighting her personal demons at this time. Her past relationship with John Wayne no doubt figured in her getting this part, which she carries off well. She died at the young age of 36 in 1961. For Marvin, I believe that this was the first time that he was billed above the title. He practically steals the picture as the likable but deadly villain. Walter Reed was a staple of the John Ford stock company and has one of the best roles of his career in this film. Watch for Stuart Whitman as a cavalry lieutenant and Wayne stunt double Chuck Roberson as one of the outlaws. Donald Barry was better known as Don "Red" Barry in the 1940s as the result of having played Red Ryder in the 1940 serial "The Adventures of Red Ryder".
A great little western.
- bsmith5552
- 25 gen 2006
- Permalink
I had missed out on this Western's TCM showing while in Hollywood (since I was busy editing my own short!), though I did catch parts of it - and, following it was the excellent feature-length documentary BUDD BOETTICHER: A MAN CAN DO THAT (2005), the sub-title of which, incidentally, is a line from this very film! At this point, I only have THE TALL T (1957) - ironically, the most highly-regarded title - still to watch from "The Ranown Cycle" films.
SEVEN MEN FROM NOW emerges as a classic Western, and certainly a cut above star Randolph Scott's typical vehicle. At a mere 78 mins., it's terse, economical and unpretentious - but the script is anything but simple-minded! Scott doesn't exert his acting abilities any more than usual, but his presence is quietly commanding (proving an obvious influence on Clint Eastwood's "Man With No Name" persona in Sergio Leone's "Dollars Trilogy" [1964-66]) - and as much an iconic Western figure as John Wayne or James Stewart (in a series of 5 films directed by Anthony Mann). He also creates an interesting contrast with Lee Marvin's memorable - and oddly likable - rogue; the tragic Gail Russell, too, is fine in her last prominent role (her untimely death occurred 5 years later).
The epic and versatile "Lone Pine" location served Boetticher extremely well, in much the same way that Monument Valley did John Ford. The film also features a wonderful score (though it includes a couple of resistible tunes, a standard practice in Westerns from that era, that were disliked even by the film-makers themselves!) and at least three memorable sequences: the scene in the wagon where Marvin tells the story of a three-way romance that is full of double-meaning to the present situation involving Scott, Russell and her weakling husband (Walter Reed); the opening and closing gunfights, first in which Scott kills two of the men he's after (the seven of the title who robbed $20,000 worth in gold and killed his by-stander wife) and his inevitable showdown with Marvin's over-confident quick-draw - both of which, amazingly, occur off-screen: for a scene to be effective, sometimes it's all in the editing! The film's open-ended conclusion was also not typical of the genre.
While the film had languished in the Batjac vault for decades, its eventual DVD presentation - along with the rest of their productions (I followed this with the 4 John Wayne titles already out) - has ensured a quality edition (though the Audio Commentary - taken from Jim Kitses' book on the genre "Horizons West" - while certainly interesting is rather a heavy-going listen, and would perhaps best be digested on the printed page!), unlike the rest of "The Ranown Cycle" films - the property of Sony and Warners - which are still M.I.A. on the format and would most probably only be bare-bones releases, if still essential purchases...
BUDD BOETTICHER: AN American ORIGINAL (2005), the accompanying documentary (whose makers are uncredited), is basically a reduction of BUDD BOETTICHER: A MAN CAN DO THAT, with some new footage pertaining to the restoration of SEVEN MEN FROM NOW and recollections about its writer Burt Kennedy. Although it doesn't go into much detail with respect to individual films (apart from the 8-year in-the-making ARRUZA [1968], which for the director constituted a veritable exile and, thus, an essential phase in his life and career), it's still worth viewing.
SEVEN MEN FROM NOW emerges as a classic Western, and certainly a cut above star Randolph Scott's typical vehicle. At a mere 78 mins., it's terse, economical and unpretentious - but the script is anything but simple-minded! Scott doesn't exert his acting abilities any more than usual, but his presence is quietly commanding (proving an obvious influence on Clint Eastwood's "Man With No Name" persona in Sergio Leone's "Dollars Trilogy" [1964-66]) - and as much an iconic Western figure as John Wayne or James Stewart (in a series of 5 films directed by Anthony Mann). He also creates an interesting contrast with Lee Marvin's memorable - and oddly likable - rogue; the tragic Gail Russell, too, is fine in her last prominent role (her untimely death occurred 5 years later).
The epic and versatile "Lone Pine" location served Boetticher extremely well, in much the same way that Monument Valley did John Ford. The film also features a wonderful score (though it includes a couple of resistible tunes, a standard practice in Westerns from that era, that were disliked even by the film-makers themselves!) and at least three memorable sequences: the scene in the wagon where Marvin tells the story of a three-way romance that is full of double-meaning to the present situation involving Scott, Russell and her weakling husband (Walter Reed); the opening and closing gunfights, first in which Scott kills two of the men he's after (the seven of the title who robbed $20,000 worth in gold and killed his by-stander wife) and his inevitable showdown with Marvin's over-confident quick-draw - both of which, amazingly, occur off-screen: for a scene to be effective, sometimes it's all in the editing! The film's open-ended conclusion was also not typical of the genre.
While the film had languished in the Batjac vault for decades, its eventual DVD presentation - along with the rest of their productions (I followed this with the 4 John Wayne titles already out) - has ensured a quality edition (though the Audio Commentary - taken from Jim Kitses' book on the genre "Horizons West" - while certainly interesting is rather a heavy-going listen, and would perhaps best be digested on the printed page!), unlike the rest of "The Ranown Cycle" films - the property of Sony and Warners - which are still M.I.A. on the format and would most probably only be bare-bones releases, if still essential purchases...
BUDD BOETTICHER: AN American ORIGINAL (2005), the accompanying documentary (whose makers are uncredited), is basically a reduction of BUDD BOETTICHER: A MAN CAN DO THAT, with some new footage pertaining to the restoration of SEVEN MEN FROM NOW and recollections about its writer Burt Kennedy. Although it doesn't go into much detail with respect to individual films (apart from the 8-year in-the-making ARRUZA [1968], which for the director constituted a veritable exile and, thus, an essential phase in his life and career), it's still worth viewing.
- Bunuel1976
- 14 mag 2006
- Permalink
- moonspinner55
- 1 gen 2016
- Permalink
I finally got to see Budd Boetticher's superb Technicolor western "Seven Men from Now" which was long considered a lost classic in 1950s American cinema. The copy I saw was a pre-restored version but in excellent condition. This is Boetticher's first of a series of fascinating, modest, and low-budget westerns with Randolph Scott. The others include "Buchanan Rides Alone", "Decision at Sundown", "The Tall T", "Ride Lonesome", and "Comanche Station".
All of them are superb, but "Seven Men" is really my favorite. As Andrew Sarris astutely observed in his Boetticher entry in The American Cinema, "Constructed partly as allegorical odysseys and partly as floating poker games in which every character took turns at bluffing about his hand or his draw until the final showdown, Boetticher's westerns expressed a weary serenity and moral certitude that was contrary to the more neurotic approaches of other directors in this neglected genre of the cinema". From the stunning opening sequence of Scott coming from behind the camera entering a rocky shelter to the final scene of Gail Russell watching Scott leaving the town, "Seven Men" is an exciting, brooding, and impeccably constructed western. Boetticher deftly uses the vast isolated landscape to comment on the characters' isolation and entrapment. The screenplay by Burt Kennedy is brilliant and witty. The film also features some extraordinary performances by Scott and his clever nemesis, played by the incredible Lee Marvin, a role that somehow anticipates his sadistic Liberty Valance in Ford's "The Man Who Shot Liberty Valance". Scott plays a morally ambiguous ex-sheriff who, while helping an Eastern husband and wife, travel cross-country in their covered wagon, hunts for the seven men shot and killed his wife. The scenes between Scott and Russell are strangely moving and effective. The final showdown between Scott and Marvin is stunning and unforgettable.
All of them are superb, but "Seven Men" is really my favorite. As Andrew Sarris astutely observed in his Boetticher entry in The American Cinema, "Constructed partly as allegorical odysseys and partly as floating poker games in which every character took turns at bluffing about his hand or his draw until the final showdown, Boetticher's westerns expressed a weary serenity and moral certitude that was contrary to the more neurotic approaches of other directors in this neglected genre of the cinema". From the stunning opening sequence of Scott coming from behind the camera entering a rocky shelter to the final scene of Gail Russell watching Scott leaving the town, "Seven Men" is an exciting, brooding, and impeccably constructed western. Boetticher deftly uses the vast isolated landscape to comment on the characters' isolation and entrapment. The screenplay by Burt Kennedy is brilliant and witty. The film also features some extraordinary performances by Scott and his clever nemesis, played by the incredible Lee Marvin, a role that somehow anticipates his sadistic Liberty Valance in Ford's "The Man Who Shot Liberty Valance". Scott plays a morally ambiguous ex-sheriff who, while helping an Eastern husband and wife, travel cross-country in their covered wagon, hunts for the seven men shot and killed his wife. The scenes between Scott and Russell are strangely moving and effective. The final showdown between Scott and Marvin is stunning and unforgettable.
I enjoy Randolph Scott having seen him in Commanche Station, The Tall T, Buchanan Rides Alone ,7th Cavalry and possibly one other film. It seems he is always a widower, or a man looking for his wife just stolen away by Indians.. At the same time he becomes very appealing to the lead married woman in the flick here Gail Russell who has appeared with the Duke. Competing for the "woman" is either Richard Boone, Lee Marvin , or Claude Akins. I guess Hollywood was big on following a formula. It's like Groundhog Day went West to Arizona, yet I enjoy every one of em.
Marvin is good here, better in Liberty Valance. A very young Stuart Whitman has a cameo here. Marvin, Whitman and the Duke will later make The Commancheros.
Scott is a natty dresser despite the dusty and muddy trail and unlike Marvin who shaves with his knife, manages to stay clean shaven. Good locations and scenery make this a must see for RS fans.
With RS it's all about the code of the West and a personal code of conduct. He pulls it off well without it becoming corny.
Marvin is good here, better in Liberty Valance. A very young Stuart Whitman has a cameo here. Marvin, Whitman and the Duke will later make The Commancheros.
Scott is a natty dresser despite the dusty and muddy trail and unlike Marvin who shaves with his knife, manages to stay clean shaven. Good locations and scenery make this a must see for RS fans.
With RS it's all about the code of the West and a personal code of conduct. He pulls it off well without it becoming corny.
While heading to Flora Vista, the coach of John Greer (Walter Reed) and his wife Annie Greer (Gail Russell) gets trapped in the mud and the former sheriff Ben Stride (Randolph Scott) helps the couple that invites him to ride together with them. Then they meet the strangers Bill Masters (Lee Marvin) and his partner Clete (Donald Barry) and Bill tells to the couple that Ben is tracking down the seven men that robbed the Well Fargo office in Silver Springs and killed his wife that worked in the office. Annie gets close to Ben, who feels responsible for the death of his beloved wife. During their journey, they have moments of tension with an attack of Indians and the interest of Bill in Annie, and Ben asks Bill and Clete to leave the couple. When they arrive in the boundary of Flora Vista, John discloses a secret to Ben.
"Seven Men From Now" is a solid western, with story and characters very well developed and outstanding performances. Randolph Scott performs a lonely rider thirsty to revenge the death of his wife, and Lee Marvin performs a great villain, as usual. My vote is eight.
Title (Brazil): "7 Homens Sem Destino" ("7 Men Without Destiny")
"Seven Men From Now" is a solid western, with story and characters very well developed and outstanding performances. Randolph Scott performs a lonely rider thirsty to revenge the death of his wife, and Lee Marvin performs a great villain, as usual. My vote is eight.
Title (Brazil): "7 Homens Sem Destino" ("7 Men Without Destiny")
- claudio_carvalho
- 31 mar 2009
- Permalink
This is the first Western of the Boeticcher - Scott combination I have watched. The movie is a typical Western with an element of journey across the Wild west. It can be called a mixture of 'Stagecoach' and 'The Searchers' in terms of the journey and the search for somebody. It is a rather short movie with the typical western circumstances to boost it's pace.
Randolph Scott was in his 50's when he did this movie. The tiredness and lack of the western lead man charm is visible. John Wayne, who is also the producer of this movie was going to play his part. But he didn't because he was busy. I wish he had. Lee Marvin on the other hand is the face-saver. He pawns Scott right, left and center. Excellent portrayal of a grey shade character by him. He is slowly turning out to be one of my favorite 'Western Heroes' although mostly he plays the supporting actor. A pretty average western but worth a watch for Marvin.
Rating : 7/10
Randolph Scott was in his 50's when he did this movie. The tiredness and lack of the western lead man charm is visible. John Wayne, who is also the producer of this movie was going to play his part. But he didn't because he was busy. I wish he had. Lee Marvin on the other hand is the face-saver. He pawns Scott right, left and center. Excellent portrayal of a grey shade character by him. He is slowly turning out to be one of my favorite 'Western Heroes' although mostly he plays the supporting actor. A pretty average western but worth a watch for Marvin.
Rating : 7/10
A "B" western made so well it evolved into a masterpiece. The film is just as noteworthy for what it shows as what it leaves to your imagination. With a clever, complex villain that you gradually learn to care about, to a rugged, silent-type, lantern jawed hero. Randolph Scott plays the damaged hero, a former sheriff whose wife is killed during a robbery he can't prevent. His vendetta is against the seven men involved know his pursuit will be as relentlessly and inevitable as the passage of time. Motivated, complex characters and a simple but gripping plot add up to a truly memorable experience.
- oliver-123
- 1 giu 2008
- Permalink
Seven Men from Now is a must-see for all fans of the western. Beautifully directed and acted, this film is just under 80 minutes and yet manages to do more in that time than the over-long mega-films of today.
Randolph Scott who replaced John Wayne (due to Wayne's schedule) is excellent as the silent man of the West who is out to avenge his wife's murder. Gail Russell in her comeback role is marvelous and touching. Produced by John Wayne, he(Wayne) insisted that Gail be given the leading lady role even after he himself was forced to desert the leading role. He was determined to help the troubled Miss Russell restart her career. They had worked so beautifully together in two previous films, ANGEL AND THE BADMAN and WAKE OF THE RED WITCH. U.C.L.A archives has preserved this film in pristine condition and gorgeous Technicolor. We must make an effort to do a write in campaign to Warner Brothers to release it on D.V.D. so it is not once again lost to the world.
Randolph Scott who replaced John Wayne (due to Wayne's schedule) is excellent as the silent man of the West who is out to avenge his wife's murder. Gail Russell in her comeback role is marvelous and touching. Produced by John Wayne, he(Wayne) insisted that Gail be given the leading lady role even after he himself was forced to desert the leading role. He was determined to help the troubled Miss Russell restart her career. They had worked so beautifully together in two previous films, ANGEL AND THE BADMAN and WAKE OF THE RED WITCH. U.C.L.A archives has preserved this film in pristine condition and gorgeous Technicolor. We must make an effort to do a write in campaign to Warner Brothers to release it on D.V.D. so it is not once again lost to the world.
Randolph Scott stars in this horse opera with great charm and grit. Lee Marvin displays his oily villainy with that snakey charm that was always his trademark. The plot is secondary except to say that it is a good guy bad guy contest and, well, I cannot put in a spoiler but do you really think Scott is a loser? I enjoyed this very much. It took me back to the Saturday matinees that I used to attend regularly at a real (reel?) theater. I could watch it again but I think I will find a few more oldies like this to rev up my nostalgia motors.
I have always been amazed by this western which announces the six other that will follow, all directed by Boetticher, written by Kennedy and produced for Columbia Pictures by Harry Joe Brown. All of them have something in common, a very unusual way to present the good vs the evil guys. The good one is not always so good and the evil lead not so bad after all. Here, Lee Marvin is as awesome as Richard Boone was in THE TALL T, for instance. Lee Marvin who steals the film in so many scenes, and is a kind of outsider heavy, because he is not supposed to belong to the batch of seven men purchased by the revenge widower Scott. That's what astonished me the most. In another western, he would have been the wife killer himself, but not here. And the climax will be with him.
Just enjoy ....
- searchanddestroy-1
- 27 feb 2020
- Permalink
This film begins on a cold, rainy night with two cowboys sitting under a ledge on the side of a hill by a fire trying to stay warm. All of a sudden, they are interrupted by a rain-soaked cowboy by the name of "Ben Stride" (Randolph Scott) asking to share their fire for a little while. They reluctantly agree and offer him some coffee as well. While he drinks a cup, he asks them some general questions for which they become increasingly defensive the more he inquires. In no time a gunfight erupts and next morning he is shown riding out all by himself. A little later on he comes across a mild-mannered man by the name of "John Greer" (Walter Reed) and his wife "Annie Greer" (Gail Russell) frantically trying to pull their wagon out of the mud and he offers to help. Upon hearing that they are headed to California but are temporarily traveling south to the town of Flora Vista he agrees to ride with them along the way. Not long afterward, they are joined by two rather brazen cowboys named "Bill Masters" (Lee Marvin) and "Clete" (Don 'Red' Barry) who Ben has previously had trouble with when he was a sheriff. However, since neither of them are currently suspected of any crime, Ben allows the two of them to ride with them in case they come upon a band of Chiricahua Apache rumored to be in the area. Even so, Ben knows full well that the two of them are clearly up to no good and that any alliance with them will only be of a temporary nature. Now rather than reveal any more, I will just say that this turned out to be a pretty good Western which--from what I am told--had the interest of both John Wayne and Robert Mitchum for the lead role and Randolph Scott was chosen only after John Wayne turned it down due to other commitments. To that extent, Randolph Scott performed in a solid manner but it was Lee Marvin who really stood out. At least, that is my opinion. Be that as it may, I enjoyed this film and I have rated it accordingly. Above average.
I'm going to jump right into my criteria for watching any movie:
1. Do I believe the story?
Not really, kinda, maybe, if I'm suspending disbelief as I do for animation, perhaps? So many unbelievable elements to it -- the token Indian threat; screaming Hollywood from the Joshua Tree National Park (or nearby) in the first 5 minutes; one minute we're in the desert, next minute we're in a torrential downpour, and more. The whole setup was so rigged, I actually found myself paying close attention to sunlight & shadows on the cardboard characters' faces. Questions such as: How can that guy see in the desert with the sun in his eyes? Are they really travelling south, based on which way the shadows are cast?
2. Do I care about the story?
No way! I don't think I had ever seen a Randolph Scott movie before, unless in childhood. But that song has been with me all my life, "Whatever happened to Randolph Scott, ridin' them trails alone?..." So I figured I'd check out Randolph Scott hunting down 7 bad guys, just for a look. Otherwise, I wouldn't have lasted more than 15-20 minutes. By the end of the film, I didn't really care how things turned out. Without spoiling, I will say I was mostly engaged in predicting what would happen (as opposed to simply watching what happened) -- I got 100% of my predictions right!
3. Do I believe the characters?
Not really, with one exception: Lee Marvin's character, Masters. I hated him -- and since he was the villain, that's exactly the way I was supposed to feel about him. A nasty old scoundrel from the Wild West. Yep, I believed Lee Marvin!
4. Do I care about the characters?
No. I wanted to care about Randolph Scott, 'cause he does seem like a cool dude type, right from the start, and his mission was righteous. Naturally, Mrs. Greer is pleasing to the eye, and Gail Russell did the job she was hired to do, but nothing more. On a positive note, I did care about Lee Marvin's Masters. He was the villain, and I was rooting against him, as I was supposed to. A pretty straightforward villain, but very well played, nonetheless.
Overall, I'm disappointed, with the exception of Lee Marvin's performance -- the only reason I scored this movie 4/10 and not lower. I strongly disagree with the 7.5 out of 10 rating which enabled me to watch the movie. I believe that average rating to be exaggerated sentimentalism. Indeed, even I began by giving this movie 6 out of 10 -- but realized I had done so for two reasons: (1) I almost felt duty-bound not to give it a lower rating, given its status as a "classic western"; and (2) I know IMDb applies a weight to ratings -- which works in the case of Bollywood and such -- but I honestly felt that giving "Seven Men From Now" the rating I truly felt would somehow diminish the value of my vote. The more I think about it -- even the title is contrived. Most or all negative connotations of "Hollywood" as being a contrived industrial production of cinema as opposed to art, are present in this movie, with the exception of Lee Marvin's performance.
My recommendation: Don't waste your time with this one!
1. Do I believe the story?
Not really, kinda, maybe, if I'm suspending disbelief as I do for animation, perhaps? So many unbelievable elements to it -- the token Indian threat; screaming Hollywood from the Joshua Tree National Park (or nearby) in the first 5 minutes; one minute we're in the desert, next minute we're in a torrential downpour, and more. The whole setup was so rigged, I actually found myself paying close attention to sunlight & shadows on the cardboard characters' faces. Questions such as: How can that guy see in the desert with the sun in his eyes? Are they really travelling south, based on which way the shadows are cast?
2. Do I care about the story?
No way! I don't think I had ever seen a Randolph Scott movie before, unless in childhood. But that song has been with me all my life, "Whatever happened to Randolph Scott, ridin' them trails alone?..." So I figured I'd check out Randolph Scott hunting down 7 bad guys, just for a look. Otherwise, I wouldn't have lasted more than 15-20 minutes. By the end of the film, I didn't really care how things turned out. Without spoiling, I will say I was mostly engaged in predicting what would happen (as opposed to simply watching what happened) -- I got 100% of my predictions right!
3. Do I believe the characters?
Not really, with one exception: Lee Marvin's character, Masters. I hated him -- and since he was the villain, that's exactly the way I was supposed to feel about him. A nasty old scoundrel from the Wild West. Yep, I believed Lee Marvin!
4. Do I care about the characters?
No. I wanted to care about Randolph Scott, 'cause he does seem like a cool dude type, right from the start, and his mission was righteous. Naturally, Mrs. Greer is pleasing to the eye, and Gail Russell did the job she was hired to do, but nothing more. On a positive note, I did care about Lee Marvin's Masters. He was the villain, and I was rooting against him, as I was supposed to. A pretty straightforward villain, but very well played, nonetheless.
Overall, I'm disappointed, with the exception of Lee Marvin's performance -- the only reason I scored this movie 4/10 and not lower. I strongly disagree with the 7.5 out of 10 rating which enabled me to watch the movie. I believe that average rating to be exaggerated sentimentalism. Indeed, even I began by giving this movie 6 out of 10 -- but realized I had done so for two reasons: (1) I almost felt duty-bound not to give it a lower rating, given its status as a "classic western"; and (2) I know IMDb applies a weight to ratings -- which works in the case of Bollywood and such -- but I honestly felt that giving "Seven Men From Now" the rating I truly felt would somehow diminish the value of my vote. The more I think about it -- even the title is contrived. Most or all negative connotations of "Hollywood" as being a contrived industrial production of cinema as opposed to art, are present in this movie, with the exception of Lee Marvin's performance.
My recommendation: Don't waste your time with this one!
- zkot-839-452731
- 24 gen 2017
- Permalink