Gene Evans Movies

This comedy western is the failed pilot for a TV series based on the 1971 feature film Skin Game. Like the original, this tells the story of two bungling con artists, one white the other black, who ride around trying to collect an outlaw bounty and outsmart slave traders. ~ Sandra Brennan, All Movie Guide

When a Native American is falsely accused of the brutal rape and beating of a white girl, the white community essentially becomes a lynch mob--led by the victim's step-father. Unaware that it is the leader of their anarchistic group who is guilty of the crime, the mob wants only revenge. When the brother of the accused is slain, the Native American community is also out for revenge.
A somewhat hackneyed and violent plot, but well done. ~ Tana Hobart, All Movie Guide

In the first half of a two-part story (originally telecast as a single two-hour episode), Chief Ironside is assigned to protect little Jerry Abbott, an autistic 10-year-old who has witnessed a murder. Not long afterward, the newspapers are reporting that Jerry himself has been killed--and that Ironside, tortured by guilt, has quit the force, crawled into a booze bottle, and ended up a derelict on Skid Row. But is this grim situation everything it appears to be? ~ Hal Erickson, All Movie Guide

A former friend betrays a legendary outlaw in Sam Peckinpah's final Western. Holed up in Fort Sumner with his gang between cattle rustlings, Billy the Kid (Kris Kristofferson) ignores the advice of comrade-turned-lawman Pat Garrett (James Coburn) to escape to Mexico, and he winds up in jail in Lincoln, New Mexico. After Billy theatrically escapes, inspiring enigmatic Lincoln resident Alias (Bob Dylan) to join him, the governor (Jason Robards Jr.) and cattle baron Chisum (Barry Sullivan) requisition Garrett to form a posse and hunt him down. Rather than flee to Mexico when he can, Billy heads back to Fort Sumner, meeting his final destiny at the hands of his friend Pat, who, two decades later, is forced to face the consequences of his own Faustian pact with progress. With a script by Rudolph Wurlitzer, Peckinpah uses the historical basis of Billy's death to eulogize the West dreamily yet violently as it is desecrated by corrupt capitalists. Both Pat and Billy know that their time is passing, as surely as Garrett's posse knows that they are participating in a legend. Using familiar Western players like Slim Pickens and Katy Jurado, Peckinpah underscores the West's existence as a media myth, and he even appears himself as a coffin maker. Just as the bloodletting of Peckinpah's earlier The Wild Bunch (1969) invoked the Vietnam War, the casting of Kristofferson and Dylan alluded to the chaotic late '60s/early '70s present; the counterculture has little place in a corporate future. Also like The Wild Bunch, Pat Garrett was truncated by its studio; the cuts did nothing to help its box office. Key scenes, particularly the framing story of Garrett's fate, have since been restored to the home-video version. In this director's cut, Pat Garrett and Billy the Kid stands as one of Peckinpah's most beautiful and complex films, killing the Western myth even as he salutes it. ~ Lucia Bozzola, All Movie Guide

This Western action/comedy is told in the same tongue-in-cheek manner as its predecessor, Support Your Local Sheriff. Goldie (Marie Windsor), a madam, is a formidable woman, and Latigo Smith (James Garner) knows perfectly well that his disreputable ways will be trimmed considerably should she succeed in marrying him. Instead, he escapes from her and winds up in the town of Purgatory. The town's inhabitants have been expecting the arrival of Swifty Morgan (Chuck Connors), the famous gunfighter. All things being equal, Latigo is happy to be mistaken for Morgan's sidekick, while Jug May (Jack Elam) impersonates Morgan himself. ~ Clarke Fountain, All Movie Guide

After the intense bloodshed of The Wild Bunch (1969), this comic western fable took the opposite approach to director Sam Peckinpah's continuing examination of the end of the West. Left for dead by a couple of lizard-slaughtering desperados in the middle of the desert, prospector Cable Hogue (Jason Robards) is saved by his unexpected discovery of water "where there wasn't any." Hogue turns the water hole, felicitously located near a stagecoach route, into a thriving business, creating a rest stop for a never-ending series of parched travelers. On his occasional trips to the closest town, he meets chipper prostitute Hildy (Stella Stevens), who joins him in his oasis, completing Hogue's little paradise. But even though Hogue may be able to succeed and avenge himself against his original attackers, there is one thing that he cannot stop: progress. Completed before The Wild Bunch was released, and replete with comical and even musical interludes, Peckinpah's gently picaresque telling of Hogue's rise and fall stands in distinct contrast to the visual violence of its predecessor. The underlying message about the cost of modernity, however, equals The Wild Bunch in seriousness. The callous randomness of Hogue's fate is as shocking as the Bunch's final blaze of glory; as in Robert Altman's McCabe and Mrs. Miller from the same period, a tool of "civilization" provokes a most uncivilized end for an Old West dreamer. Although the film was as light-hearted in approach as the 1969 smash hit revisionist western Butch Cassidy and the Sundance Kid, Warner Bros. mishandled the release and it did barely any business; Peckinpah returned to his trademark gore in his next film, the controversial Straw Dogs (1971). Still, The Ballad of Cable Hogue is less an anomaly for a master of violence than an ironically charming chapter in Peckinpah's career-long elegy to the western. ~ Lucia Bozzola, All Movie Guide

An offbeat 1970s black-comic Western with an all-star cast, this Joseph L. Mankiewicz film is set in 1883 in Arizona. Paris Pitman, Jr. (Kirk Douglas) is the leader of a band of outlaws that steals $500,000 from a wealthy businessman named Lomax (Arthur O'Connell). The other gang members die in a shootout, but Pitman escapes and hides the loot in women's underwear and drops it into a snake pit. After Lomax recognizes Pitman in a brothel, he is arrested by Sheriff Woodward Lopeman (Henry Fonda). At the territorial prison, Pitman bribes Warden Le Goff (Martin Gabel), offering him a share of the hidden money if he lets him escape. But before the scheme is carried through, the warden is killed by a prisoner. Lopeman becomes the new warden, and he is bent on ridding the prison of corruption. Pitman convinces Lopeman that he will cooperate with the reforms, then he uses the new freedoms given to him to plan an elaborate escape with several other men. The escape is to take place during an inspection by the governor. The screenwriting team for this film was Robert Benton and David Newman, who had penned the brilliant Bonnie and Clyde. ~ Michael Betzold, All Movie Guide

James Garner is a nothing short of a delight in this western spoof that stands western clichés on their ears. The film takes place in the small western town of Calender, a town that experiences a gold rush when gold is discovered in an open grave by Prudy Perkins (Joan Hackett). As gold prospectors flood in and out of town, the Danby clan, anxious to take advantage of the situation (since their ranch blocks the main road out of town) levies a 20% tribute on every gold shipment that passes through. Three sheriffs have been dispatched by the Danbys, and they control the town. Into this situation, on his way to Australia, rides Jason McCullough (Garner). McCullough is an easy-going sort who just happens to be a crack shot. The town rapidly makes him sheriff. His first line of business is to break up a fight and to arrest Joe Danby (Bruce Dern) for murder. As McCullouch settles down in the Perkins boarding house, Pa Danby (Walter Brennan) plots to spring his son from jail. But when all his mechanizations fail to gain Joe's release, Pa Danby gathers together all the Danbys in the surrounding countryside to head into Calender to get rid of McCullough. ~ Paul Brenner, All Movie Guide

John Wayne and Kirk Douglas spend half of The War Wagon trying to knock one another off and the other half working shoulder to shoulder. Settling an old score with avaricious mine owner Bruce Cabot, Wayne plans to steal a $500,000 gold shipment from his enemy. Douglas, at first hired by Cabot to kill Wayne, goes along with the robbery scheme. Also in on the plan is Howard Keel, superbly cast as a world-weary, wisecracking Native American (it's the sort of part that nowadays would go to Graham Greene). The titular war wagon is the armor-plated, Gatling-gun fortified stagecoach wherein Cabot's gold is transported. Thus the stage is set for a slam-bang finale, and director Burt Kennedy isn't about to disappoint the viewers. Best bit: after Kirk and The Duke gun down Cabot's henchmen Bruce Dern and Chuck Roberson, Douglas quips "Mine hit the ground first"--whereupon Wayne replies "Mine was taller." ~ Hal Erickson, All Movie Guide

Jim Walker Rory Calhoun is a hero who fights Indians and crooks who plan a series of stagecoach robberies in this routine western. He defends the honor of a woman (Corinne Calvet) wrongly accused of having a bad reputation. Johnny Mack Brown plays the local Sheriff Ben Hall, with Lon Chaney, Jr. as the friendly stagecoach driver Charlie Russell. Watch for DeForest Kelley in a pre-Star Trek role as a crazed gunman. ~ Dan Pavlides, All Movie Guide

Henry Hathaway's film is based on a character from Harold Robbins' The Carpetbaggers, who, in turn, based it on cowboy actor Ken Maynard. Set in the West of the 1890s, the film opens with the torture and murder of the parents of Max Sand (Steve McQueen) by a trio of gunslingers seemingly motivated by their hostility toward the mixed nature of the marriage, since the wife is a Native American. Swearing revenge, the young cowhand enlists the help of itinerant gunsmith Jonas Cord Brian Keith, who teaches him how to shoot while counseling against revenge. Nonetheless, Sand doggedly scours one town after the other before finally running up against one of the murderers, Jesse Coe (Martin Landau). He finally kills Coe in a vicious knife fight, but is severely wounded himself and has to be nursed back to health by Neesa (Janet Margolin), a young Kiowa woman. He next heads for Louisiana where another of the murderous trio, Bill Bowdre (Arthur Kennedy), is serving a prison sentence in a remote swamp. In order to get close to the man, Sand stages a robbery, and is soon among the prison inmates. This was the only film on which McQueen worked with Landau, the only other person admitted to the Actor's Studio out of thousands of applicants in 1957. ~ Michael Costello, All Movie Guide

Cowboy Johnny Dolan (Pat Conway) helps Jason McCord fend off three hoodlums in a barroom brawl. However, it turns out that Johnny did not rescue Jason out of the goodness of his heart: He is bounty hunter, and he intends to collect the $5000 bounty that has been placed on McCord's head. The villain of the piece is played by Michael Ansara, formerly the star of the 1959 TV western Law of the Plainsman--a spinoff from another western series, The Rifleman, which of course starred Branded's Chuck Connors. ~ Hal Erickson, All Movie Guide

Shock Corridor represents filmmaker Samuel Fuller at his most excessive, but few would have it otherwise. Peter Breck plays a ruthless journalist who believes that the quickest way to a Pulitzer Prize is to uncover the facts behind a murder at a mental hospital. To glean first-hand information, Breck pretends to go insane and is locked up in the institution. While pursuing his investigation, Breck is sidetracked by the loopy behavior of his fellow inmates. During a hospital riot, Breck is straightjacketed and subjected to shock treatment. By now almost as crazy as he's previously pretended to be, Breck begins imagining that his exotic-dancer girlfriend Constance Towers (a Samuel Fuller "regular") is actually his sister! Typical of the Fuller ouevre, the characters in Shock Corridor are either saved or destroyed by their individual obsessions. ~ Hal Erickson, All Movie Guide