Buchanan Rides Alone (1958)

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Tom Buchanan (Randolph Scott) is a mercenary returning from Mexico to West Texas intending to start up a ranch of his own. He stops in a community run by a family called Agry – they own everything. When a young Mexican (Manuel Rojas) kills one of them in revenge for raping his sister the brothers wreak their own revenge while Buchanan winds up killing the villain and helping the young man whose wallet has been emptied and his life spared. Then the three Agry brothers cross and double cross each other by alternately threatening to hang and ransom him for their own ends.  Buchanan attempts to manipulate the situation … This is the fourth Scott collaboration with Budd Boetticher and the second written by Charles Lang (adapted from a novel The Name’s Buchanan by Jonas Ward). It’s perhaps not as iconic as the first two in the cycle, which were written by Burt Kennedy, and it stands out for its drama taking place in a settlement, but it has many of the tropes and shares some of the settings in the series (typically, Lone Pine and its environs). This skirts the edges of comedy – maybe even satire! – as it grapples with the western form. Scott is good in this wittier than usual entry. Beautifully shot by Lucien Ballard, a regular part of the team.

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Seven Men From Now (1956)

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Isn’t that one of the best titles ever?! Burt Kennedy’s first film script was intended for John Wayne – and his company made it – but he did The Searchers instead and it wound up being Randolph Scott’s story:  that of Ben Stride, a sheriff who blames himself for his wife’s death during a Wells Fargo robbery who sets out to avenge her death, tracking down each of the men responsible. He hitches a ride with a married couple whose wagon is stuck in the mud and becomes intrigued by the husband’s story (Greer, played by Walter Reed) while falling for the wife Annie (Gail Russell). They encounter Stride’s former nemesis Bill Masters (Lee Marvin) and his sidekick Clete (Don Barry) who decide to make off with the gold haul from the robbery when Stride has accomplished his mission. There is an encounter with hungry Indians, an ambush and an admission that the haul transported by Greer is the takings from the robbery. Shot in the beautiful landscape of Lone Pine, this is an elemental revenge western. Marvin is a choice, charismatic villain and the tragic Russell is wonderfully vulnerable as Scott’s romantic foil. Scott would perfect this laconic, grimly righteous hero who always finds himself in a shootout in an empty arena at the film’s conclusion. He insisted on Budd Boetticher as director and this became the template for a further six films they would do under Scott’s own production slate with producer Harry Joe Brown. For more on this film you can read my essay on Offscreen:  http://offscreen.com/view/final-showdown.

The Tall T (1957)

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I was just thinking – first time I ever been on a honeymoon! This starts almost like a western satire and then it heads into more sinister territory – in every sense. Pat Brennan (Randolph Scott) is the independent former ranch foreman who hitches a ride with a stagecoach which is taking a honeymoon couple to their destination. Willard (John Hubbard) doesn’t want a guest but new wife Doretta (Maureen O’Sullivan) insists. Then they arrive at a waypost where everyone has been killed with an outlaw gang ruling the roost. Led by child killer Frank Usher (Richard Boone), Willard bargains with them and suggests that his heiress wife could be held for ransom seeing as this isn’t the regular stage they were expecting to rob … When Usher has Willard shot in the back once the deal is secured a dance of hero/villain controls the drama as Pat appears to be Usher’s opposite but is really the flip side of the same coin.  Their morals are more or less the same – they just express them differently. Pat falls in love with Doretta, saves her from rape and plots their escape from their ruthless captors including Henry Silva and Skip Homeier. Burt Kennedy’s elegant adaptation of Elmore Leonard’s Argosy story The Captives has a grindingly compelling rhythm as these men square off in an empty proscenium, that stark setting so beloved of director Budd Boetticher in the Alabama Hills. There’s always a standoff – it’s the brilliance of how it gets there that makes this a defining psychological western. Awesome.

The Cimarron Kid (1952)

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This is the first western Audie Murphy shot after working with John Huston and here he’s directed by Budd Boetticher, himself an accomplished filmmaker who would make several classics in the genre, particularly in his Randolph Scott cycle. We have a story by Louis Stevens and Kay Lenard (one of those admirable women who wrote for the screen) about the Dalton Gang. One of their sidekicks is released from jail after serving time on trumped up charges and he is led to returning to the gang after being framed again. He gets involved in a double bank raid that goes tragically wrong with three of the brothers killed and is on the run, chased by a dozen posses in the Five Nation territory. He falls for Carrie, daughter of a former sympathiser, rancher Pat, and the two remaining gang members and himself need to get money to get free. There are deceits, betrayals and eventual entrapment. What has a man got to do after he’s made so many mistakes? Murphy’s acting was improving and his screen persona as a simple guy trying to do the right thing was finessed here and sent up rather sympathetically by the Coen Bros in their last outing, Hail Caesar!

Ride Lonesome (1959)

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One of the acclaimed Randolph Scott-Budd Boetticher collaborations utilising the amazing writing talent of Burt Kennedy, later to direct some pretty terrific westerns himself. This has Scott as Ben Brigade, a bounty hunter transporting a killer (James Best) but waiting for his brother (Lee van Cleef) to show up to account for an even worse crime. He is stuck at a staging post helping a woman (Karen Steele) whose husband has been killed by Indians and two outlaws help him out. They are played by James Coburn in his debut and Pernell Roberts, who is a very sexy, swaggering, saturnine man – much to my surprise, only knowing him in later years as Trapper John MD but who achieved fame shortly after this by starring in Bonanza on TV. Steele is incredible looking and her assets are a match for the beautiful stark landscape, used as ever by Boetticher to comment on the action, with the burning hanging tree at the conclusion a symbolic form of closure. James Best, the cowardly killer, is immediately recognisable from The Dukes of Hazzard as Sheriff Rosco Coltrane. How cool is that?